■S^B. 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Research  Library,  The  Getty  Research  Institute 


http://archive.org/details/architectureorigins01port 


MEDIEVAL    ARCHITECTURE 


MEDIEVAL  ARCHITECTURE 
ITS  ORIGINS  AND  DEVELOPMENT 


WITH   LISTS   OF   MONUMENTS 
AND     BIBLIOGRAPHIES 


BY 

ARTHUR    KINGSLEY    PORTER 


Volume   II 
NORMANDY  AND  THE   ILE   DE   FRANCE 


NEW  YORK 

THE   BAKER   &   TAYLOR   COMPANY 

LONDON 

B.   T.   BATSFORD,   94  HIGH   HOLBORN 

MCMIX 


The  Plimpion  Press  Norwood  Mass.  US^, 


THE  GETTY  CENTER 
LIBfiAitV 


CONTENTS 


List  of  Illustrations 


PAGE 

ix 


CHAPTER  VII 

Romanesque  Architecture  of  the  Ile  de  France         ......         1 

The  lie  de  France  in  the  Eleventh  Century  —  Feudal  Anarchy  —  Ecclesiastical 
Corruption  —  Decline  of  the  Episcopacy  —  The  Gregorian  Reform  —  Attitude  of  the 
Monks  —  Attitude  of  the  King  —  The  New  Papacy  —  The  French  Church  —  Internal 
Strife  —  Religious  Enthusiasm  —  The  Crusade  —  The  Peace  of  God  —  The  Truce 
of  God  —  Intellectual  Progress  —  Intercommunication  —  Corporations  —  Roman- 
esque Architecture  of  the  lie  de  France  —  Southern  Influence  —  The  Ambulatory  — 
The  School  of  Berry  —  Choirs  —  Barrel  Vaults  —  Buttresses  —  Peculiarities  of  De- 
sign —  Ornament  —  School  of  the  lie  de  France  —  First  Half  of  the  Eleventh  Cen- 
tury —  Last  Half  of  the  Eleventh  Century  —  Engaged  Shafts  —  Ornament. 

Romanesque  Monuments  of  the  Ile  de  France  .         .         ...         .13 

Monuments  of  the  First  Class      ..........       13 

Monuments  of  the  Third  Class    .  .  .  .  .  .  .  .  .  .15 

Other  Monuments      ............       15 


Monuments  of  the  Eleventh  and  Twelfth  Centuries  of  Districts  Bordering 
ON  THE  Ile  de  France. 
Monuments  of  the  First  Class 
Monuments  of  the  Second  Class 
Monuments  of  the  Third  Class 
Other  Monuments 


24 
26 


CHAPTER  VIII 

The  Transition      .  ^      ...........         . 

Definition  —  Limits  of  the  Transitional  Movement  —  Subdivisions  —  First  Phase 

—  Difficulties  of  Chronology  —  Sub-Schools  —  Earliest  Examples  of  the  Rib  Vault  — 
Origin  of  the  Rib  Vault  —  Lombard  Influence  —  Wall  Ribs  —  Doming  —  Groin 
Vaults  —  Barrel  Vaults  —  Pointed  Arch  —  Its  Advantages  —  Transverse  Ribs  Stilted 

—  Loaded  Transverse  Ribs  —  Increasing  Use  of  the  Pointed  Arch  —  Pointed  Arch 
Preferred  for  Esthetic  Reasons  —  Rib  Vaults  on  Curved  Oblong  Plans  —  Morienval 

—  Precedents  —  Difficulties  —  Solution  at  Morienval  —  Later  Solutions  —  Pontoise 

—  Broken  Rib  Vaults  —  Ambulatory  of  St.  Denis  —  Lowered  Capitals  —  Mastery  of 
the  Ambulatory  Vault  —  Significance  —  Second  Quarter  of  the  Twelfth  Century  — 
Vaulted  Naves  —  Earhest  Examples  —  Square  Plan  —  St.  Etienne  of  Beauvais  — 


SO 


CONTENTS 

PAGE 

Sexpartite  Vaults  —  Heavy  Walls  —  T^e  Apse  —  Ribbed  Half-Domes  —  St.  Martm 
des  Champs  —  The  Chevet  Vault  —  Stilting  of  Wall  Rib  —  Polygonal  Apses  — 
Second  Phase  of  the  Transition  —  St.  Denis  —  Monastic  Influence  —  Historical  Signifi- 
cance of  St.  Denis  —  Norman  Influence  —  Problem  of  the  Sexpartite  Vault  —  Octo- 
partite  Vaults  —  Continuous  Sj'stems  —  Columjis  Introduced  —  System  of  Sens  — 
System  of  Noyon  —  Sj'stem  of  Senhs  —  Capitals  Normal  to  Diagonals  —  Fljong  But- 
tresses —  Evolution  of  the  Fljing  Buttress  —  Early  Examples  —  Question  of  their 
Origin — Spires  —  Exterior  Design  —  Facades — The  Plan  —  Cloisters  —  Four-Storied 
Designs  —  Ornament  —  Profiles  —  Abaci  —  Bases  —  Grilles  —  String-Courses — Cor- 
nices —  Archivolts  of  Arches  —  Windows  and  Doom-ays  —  Diagonals  and  Trans- 
verse Ribs  —  Pure  Ornament  —  Shafts  —  Classical  Influence  —  Carolingian  and 
Norman    Motives  —  Study   of    Nature  —  Conventionalization    of   Flora  —  Capitals 

—  Accessory  Arts  —  Frescoes  —  Stained  Glass  —  Origins  and  Evolution  of  the  Art 

—  Influence  on  Architecture  —  Beauty  of  Color  —  Small  Pieces  of  Glass  Employed  — 
Small  Figures  —  Contrast  with  Modern  Methods  —  Detail  —  Sculpture  —  Origins  — 
Schools  of  the  South  —  Classic  Influence  —  Provence  and  Burgundy  —  Sculpture  of 
the  lie  de  France  —  Architectural  Character  —  The  Gothic  Ideal  —  Iconography  — 
Power  of  Suggestion  —  Essentially  Didactic  in  Character  —  Rehgion  of  the  Clerks  — 
Rehgion  of  the  People  —  Scholastic  Nature  of  Gotliic  Imagerj'  —  The  Catliedral  an 
Encyclopedia  —  Symbolism  —  Symbolic  Decoration  —  Mystic  Numbers  —  Synnnetry 

—  Biblical  Symbolism  —  Hierarchal  Rank  —  The  Four  INIirrors  —  The  Mirror  of  Na- 
ture —  The  ^Mirror  of  Science  —  The  jMirror  of  Morals  —  The  IMirror  of  History  — 
Unity  of  the  Cathedral  Imagery  —  Limitations  Imposed  on  the  Artist  —  Attributes 

—  Composition  —  The  Unity  of  the  Whole  —  Structure  Not  Sjnnbohc  —  Inchnato 
Capite  —  Explanation  of  the  De%'iated  Axis  —  Irregularities  —  Professor  Goodyear's 
"Refinements"  —  Historical  Conditions  of  the  Twelfth  Century  —  La  Renaissance 
Franfaise  —  Learning  —  Classic  ReW val — Heresies — Economic  Revolution  —  Robber 
Barons  curbed  —  Politics  —  Cinhzation  —  Cities  —  Summary  —  The  Communes  — 
The  Cathedral  not  a  Work  of  the  People  —  E^•idence  of  the  Building  itself  —  Popu- 
lar Rehgious  Enthusiasm  in  the  Twelfth  Century  —  Ijctter  of  HajTuo  —  The  Cult  of 
Carts  —  No  Popular  Enthusiasm  for  Architecture  —  Letter  of  Hugh  —  Suger  —  Cart 
Cult  of  Little  Practical  Ser^-ice  to  Arcliitecture  —  A  Norman  Institution  —  Account  of 
Robert  du  Mont  —  Summary  —  People  and  Clergy  —  Rise  of  the  Communes  —  Le 
Mans  —  Cambrai  —  St.  Quentin  —  Beauvais  —  Noyon  —  Mantes  —  Laon  —  Amiens 

—  Hostihty  of  Clergy  —  Reims  —  Sens  —  Policy  of  the  King  —  Friction  between 
Bourgeois  and  Clergy  —  Rehgion  of  the  People  —  Cure  of  Souls  —  The  Cathedral  a 
Monument  of  Ecclesiastical  Power  —  The  Medieval  Church  —  The  Power  of  Rome 

—  The  Age  of  Faith  —  Wealth  of  the  Church  —  The  House  of  God  —  Ecclesiastical 
Conditions  —  Reform  of  the  Twelfth  Century  —  The  Cistercians  —  Cistercian 
Churches  —  Clairvaux  supplants  Cluny  —  Decline  of  jNIonastic  Arcliitecture  —  Car- 
thusian Order  —  Other  Orders  —  Mendicant  Orders  —  Dominicans  and  Francis- 
cans —  The  IMihtant  Orders  —  The  Hospitalers  —  The  Templa^rs  —  Chapels  of 
the  Templars  —  Canons  Regular  —  Rule  of  St.  Augustine  —  Collegiate  Churches 

—  Reform  of  the  Chapters  —  Reform  of  the  Episcopacy  —  The  French  Church  c. 
1200  —  Summary  —  Territorial  Expansion  of  Gothic  Architecture  —  The  Master 
Builders  —  Probably  not  Monks  in  the  Twelfth  Century  —  Evidence  —  The 
Chroniclers  Silent  —  The  Medieval  Monk  —  Jean  of  Le  Mans  —  Significance  of 
this  Incident  —  Lay  Builders  at  St.  Remi  —  The  Masonic  Guild  —  Master  Builders 
of  the  Tliirteenth  Century  —  Their  Role  —  Drawings  —  Personal  Supervision  — 
Master  Builder  and  Client  —  The  Master  Builder  a  Workman  —  Evolution  of  the 
Modern  Architect  —  Extent  of  Activ-ity  of  Master  Builders  —  The  Masons  —  Free- 
dom of  Design. 

vi 


CONTENTS 

PAGE 

Monuments  of  the  Transition      ..........  193 

Monuments  of  the  First  Class      ..........  193 

Monuments  of  the  Second  Class  ..........  205 

Monuments  of  the  Third  Class 216 

Other  Monuments 219 


CHAPTER  IX 

The    Culmination.     Gothic  Architecture  of  the    North    of    Fr.\nce,  c.   1180- 

c.  1375 252 

Suger  and  Gothic  Architecture  —  Emotional  Quahty  of  Gothic  Art  —  Its  Beauties 

—  Its  Imperfections  —  Fecundity  —  The  Gothic  Alphabet  —  Amiens,  the  Culmination 

—  The  Church  under  Innocent  III  —  Germs  of  Decadence  —  Heresies  —  The  Works 
of  Aristotle  —  The  Scientific  Spirit  —  The  Church  Hated  —  The  Later  Crusaders  — 
Taxes  —  Corruption  —  The  Fabliaux  —  Non-Residence  of  Clergy  —  Subjection  of 
the  French  Church  —  Anagni  —  Superstition  —  Decadence  of  Learning  —  Effect  on 
Architecture  —  Decline  of  Architecture  in  the  Fourteenth  Century  —  Economic  Con- 
ditions —  Finances  —  Persecution  of  the  Jews  —  The  Hundred  Years'  War  —  Gothic 
Construction  —  Suppression  of  the  Walls  —  Plate  Tracery  —  Bar  Tracery  —  Struc- 
tural Significance  —  Decorative  Beauty  —  Rayonnant  Traceiy  —  Rose  Windows  — 
Quadripartite  Vaults  —  Monocylindrical  Supports  —  Sj'stems  —  Piers  —  Shafts  — 
Capitals  —  Rayonnant  Sj'stems  —  Flying  Buttresses  —  Across  Double  Aisles  —  Am- 
bulatory Vaults  —  Polygonal  Chevets  —  Design  of  the  Nave  —  Glazed  Triforiums  — 
Triforium  of  Rouen  —  Pwamidal  Sections  —  Wooden  Roofs  —  Plans  —  Columns  on 
Axis  —  The  Fa9ade  —  Paris  —  Noyon  —  Laon  —  Amiens  —  Reims  —  Coutances  — 
Transept  Ends  —  Spires  —  Gargoyles  —  Parapets  —  Double  Walls  —  Norman  Fa- 
fades  —  Gothic  Architecture  of  Normandy  —  Fortified  Churches  —  Ecclesiastical 
Buildings  —  Chapter  Houses  —  Gothic  Ornament  —  Crockets  —  Naturalistic  Flora 

—  Gothic  Fauna  —  Profiles  —  Abaci  —  Bases  —  Other  Profiles  —  Tracery  and 
Gables  —  Polychromy  —  Stained  Glass  —  Sculpture  —  Reliefs  —  Rayonnant  Sculp- 
ture. 

List  of  Gtothic  Monuments  .         .         .         .         .     '     .         .         .         .         .         .  304 

Monuments  of  the  First  Class      ..........  304 

Monmnents  of  the  Second  Class  ..........  325 

Monuments  of  the  Tliird  Class 331 

Monuments  of  the  Fourth  Class 337 


CHAPTER  X 

The  Flamboyant  Style 363 

Origins  —  St.  Satur  —  English  Influence  —  The  Ogee  Arch  —  Genesis  of  Flam- 
boyant —  Early  Examples  —  Historical  Conditions  —  National  Disasters  —  Dechne 
of  the  Church  —  Destruction  of  Wealth  —  Enemies  of  the  Church  —  Spirit  of  the 
Reformation  —  Religious  Sentiments  of  the  Age  —  Building  Activity  of  the  Fifteenth 
Century  —  Flamboyant  Arcliitecture  —  The  Fifteenth  Century  —  1400-50  —  1450- 
1500  —  The  Church  —  Building  Activity  of  the  Sixteenth  Century  —  The  Renais- 
sance —  Art  in  the  Sixteenth  Century  —  The  Church  Conservative  —  Survival  of 
Medieval  Forms  —  Last  Phase  of  Flamboyant  —  Structure  —  Pre-eminence  of  Orna- 
ment —  The  Ogee  Arch  —  Open  Work  —  Canopies  and  Niches  —  Tracery  —  Lines 
of  Double  Curvature  —  Spires  —  Fapades  —  Angle  Buttresses  —  Churches  of  Aube 
—  Archaistic  Tendencies  —  Capitals  —  Disappearing  Mouldings  —  Multiple  Ribs  — 

vii 


CONTENTS 

PAGE 

Pendants  —  General  Design  —  Ornament  —  Profiles  —  Bases  —  Interpenetration  — 
Flora  and  Fauna  —  Spiral  Paneling  —  Color  —  Timber  Roofs  —  Stained  Glass  — 
Sculpture  —  The  Death  of  Medieval  Art. 

Flambotant  Monuments         ...........  389 

Monuments  of  the  Second  Class  ..........  389 

Monuments  of  the  Third  Class 393 

Other  Monuments 397 

Appendix.    Bibliographies 417 

Scheme  of  Classification      .         .         .         ..         .         .         .         .         .         .  419 

Bibliographies    .............  420 

Bibuographical  Index 471 

GENBKAii  Index 481 


VUl 


LIST    OF    ILLUSTRATIONS 

ILL.  PAGE 

154.  Section  of  Choir  of  Genouilly.     (From  De  Kersers)     ......  8 

155.  North  Aisle  of  Morienval           ..........  8 

156.  Nave  of  Morienval  ............  10 

157.  Section  of  Nave,  Rhuis.     (Redrawn  from  Lefevre-Pontalis)  .....  12 

158.  Rib  Vault  at  Rhuis.     (Redra^vn  from  Lefevre-Pontalis)        .....  56 

159.  Rib  Vault  at  Viffort.     (Redrawn  from  Lefevre-Pontalis)       .....  56 

160.  Diagram  of  Rib  Vault  on  an  Oblong  Plan.          .......  65 

161.  Rib  Vault  at  Bethisy-St.-Pierre 66 

162.  St.  Etienne  of  Beauvais.     Interior      .........  66 

163.  Narthex  of  St.  Leu  d'Esserent 68 

164.  Plan  of  Morienval 70 

165.  Diagram  of  Rib  Vault  on  a  Curved  Oblong  Plan         ......  71 

166.  Plan  of  Pontoise.     (From  Lefe\Te-Pontalis) 72 

167.  Diagram.     Broken  Rib  Vaults 74 

168.  Ambulatory  of  Sens.     Perspective      .........  74 

169.  Plan  (restored)  of  St.  Denis.     (From  Dehio) 74 

170.  Bury.     Interior 76 

171.  Ribbed  Half-Dome  of  Vauxrezis.     (Redrawn  from  Lefevre-Pontalis)     .        ,.         .  78 

172.  Lobed  Half-Dome  of  St.  Martin-des-Champs,    Paris 78 

173.  St.  Germer.     Interior 80 

174.  Plan  of  Auvers.     (From  Arch,  de  la  Com.  des  Mon.  Hist.)           ....  81 

175.  Diagram  of  Chevet  Vaults 82 

176.  Plan  of  Noyon.     (From  Dehio) 83 

177.  Section  of  St.  Germer       ...........  84 

178.  St.  Quiriace  of  Provins.     Choir.     (From  Gurlitt) 84 

179.  Sens.     Interior 86 

180.  Noyon.     Interior 88 

181.  System  of  Senlis 90 

182.  Notre  Dame  of  Chalons-sur-Marne.     Interior     .......  90 

183.  St.  Remi  of  Reims.     Interior  of  Chevet 92 

184.  Flying  Buttresses  at  Domont.     (From  Arch,  de  la  Com.  des  Mon.  Hist.)       .          .  92 

185.  St.  Germain-des-Pres,  Paris.     Exterior       ........  94 

186.  Morienval.     Ex-terior 96 

187.  Spire  of  Bethisy-St.-Martin 98 

188.  Spire  of  Chamant 100 

189.  Senlis.     Exterior      . 102 

190.  Fafade  of  Chartres  .         . 102 

191.  Fafade  of  St.  Denis           .          .         ■ 104 

192.  Fafade  of  Sens 106 

193.  Fa(pade  of  Vailly.     (From  Lefevre-Pontalis) 108 

194.  Proffles  of  Abaci 110 

195.  Proffles  of  Bases 110 

196.  Profiles  of  Interior  String-Courses      .         .  .         .         .         .         .         ".  .112 

197.  Proffles  of  Exterior  String-Courses     .         .         .         .         .         .         .         .         .112 

ix 


LIST   OF   ILLUSTRATIONS 

ILL.  PAGE 

198.  Profiles  of  Cornices 114 

199.  Profiles  of  Archivolts  of  Arches      ..........  114 

200.  Profiles  of  Archivolts  of  Windows 116 

201.  Profiles  of  Archivolts  of  Doorways     .  .         .         .         .         .         .         .         .  116 

202.  Profiles  of  Transverse  Ribs 118 

203.  Profiles  of  Diagonal  Ribs 118 

204.  Chevet  of  Noyon 120 

205.  Arched  Corbel-Tables  of  Dravegny  and  St.  fitienne  of  Longmont  .         .         .  120 

206.  Apse  of  Chelles.     (From  Lefevre-Pontahs) 120 

207.  Capital  of  South  Transept  of  Soissons         ........  122 

208.  Capitals  of  Ambulatory,  Morienval    .........  122 

209.  Capitals  of  Nave,  Bury 124 

210.  Capital  of  Arcading  of  Lady  Chapel,  Noyon        .......  126 

211.  Capital  in  Nave,  Noyon 127 

212.  Capital  of  Triforium  String-Course,  North  Transept  of  Soissons  ....  128 

213.  St.  Etienne  of  Beauvais.     North  Transept  End 130 

214.  Stained  Glass  Window  of  Bourges.     (From  Martin  et  Cahier)      ....  132 

215.  West  Portal  of  Chartres 134 

216.  Villard  de  Honnecourt's  Design  for  the  Cathedral  of  Cambrai.     (From  Lassus)      .  140 
216a.  Diagram  of  the  Deviated  Axis  ..........  142 

217.  Chapel  of  the  Baptismal  Founts  at  Laon    ........  252 

218.  Exterior  Bay  and  Section  of  Chartres.     (From  Dehio)  .....  252 

219.  Clearstory  of  Amiens         ...........  254 

220.  St.  Urbain  of  Troyes,  from  the  Southeast 256 

221.  Chevet  of  Le  Mans 258 

222.  Facade  of  Laon                 260 

223.  Fa9ade  of  Paris 262 

224.  Facjade  of  Reims 264 

225.  Rouen.     Portail  des  Libraires  ..........  266 

226.  Paris.     Interior 268 

227.  Diagram.     Piers  of  Laon,  Paris  (6th  and  7th  bays,  Beauvais)       ....  270 

228.  Soissons.    Nave v  .         .  .270 

229.  Chartres.    Interior 270 

230.  Reuns.    Interior 270 

231.  Beauvais.     Interior 272 

232.  System  of  Seez ■.         .  .  272 

233.  Bourges.    Interior .272 

234.  Amiens.    Interior     ............  274 

235.  St.  Satur.     Choir 274 

236.  Flying  buttresses  of  nave,  Amiens      .  .         .         ...         .         .         '.         .  274 

237.  Reims.     E.xterior  from  North    .      .             276 

238.  St.  Ouen  of  Rouen.     Exterior  .         .         . 276 

239.  Bourges.     Exterior -276 

240.  Beauvais.     Exterior 278 

241.  Paris.     Plan.     (From  Dehio) 278 

242.  Notre  Dame  of  Chalons-sur-Marne,  Ambulatory  .         .         .v.         .         .  278 

243.  Bourges.     Plan.     (From  Dehio) 280 

244.  Soissons.     Plan.     (From  Dehio) 280 

245.  Coutances.     Plan.     (From  Dehio) 282 

246.  St.  Denis.     Interior .  282 

247.  Section  of  Le  Mans.     (From  Dehio) 282 

248.  Plan  of  Laon.     (From  Dehio) 283 

249.  Plan  of  Chartres.     (From  Dehio) 284 

X 


(From  Lenoir) 
(From  Lenoir) 


LIST   OF   ILLUSTRATIONS 

ILL. 

250.  Plan  of  Amiens.     (From  Durand) 

251.  Plan  of  Reims.     (From  Dehio) 

252.  Fapade  of  Noyon 

253.  Facade  of  Amiens    . 

254.  Central  Portal  of  Amiens 

255.  Faipade  of  Coutances 

256.  South  Transept-end  of  Chartres 

257.  Spire  of  St.  Pierre  of  Caen 

258.  Detail  of  Balustrade,  Paris 

259.  St.  Pierre  of  Caen.    Interior 

260.  Albi.     Exterior 

261.  Capital  from  Refectory,  St.  Martin  des  Champs,  Paris 

262.  Capital  from  Refectory,  St.  Martin  des  Champs,  Paris 

263.  Gothic  Profiles 

264.  Stained  Glass  Windows  of  the  Ste.  Chapelle  of  Bourges,  now  in  the  Crypt 

Cathedral.     (From  Meloizes) 

265.  Sculptures.     Porte  St.  Firmin,  Amiens 

266.  Le  Beau  Dieu  of  Amiens 

267.  The  Last  Judgment  of  Bourges 

268.  Reims.     Statues  of  South  Jamb  of  Central  Portal 

269.  Rouen.     Fafade 

270.  Eglise  de  la  Couture,  Bernay.     Portal 

271.  Notre  Dame  of  Louviers,  from  the  South   . 

272.  Chevet  of  St.  Pierre  of  Caen.     (From  Gurlitt) 

273.  Caudebec-en-Caux.     Interior     . 

274.  Rouen.     Tour-de-Beurre  . 

275.  Spire  of  Caudebec-en-Caux 

276.  Notre  Dame-de-1 'Epine.     Facade 

277.  Facade  of  Troyes     . 

278.  Fafade  of  St.  Maclou  of  Rouen 

279.  Notre  Dame  of  Alen^on.     Facade 

280.  Roof  Scheme  of  Churches  of  Aube 

281.  Abbeville.     Interior 

282.  St.  Germain  of  Amiens.     Interior 

283.  St.  Etienne-du-Mont,  Paris.     Interior 

284.  Notre  Dame,  Alenijon.     Interior 

285.  St.  Pierre,  Coutances.     Interior 

286.  figlise  du  St.  Esprit,  Rue.     Door  of  the  Stairway 

287.  Ste.  Croix  of  Provins.     Detail  of  Pier 

288.  Stained  Glass  of  the  late  XVI  century,  Bourges 

289.  Choir  Screen  of  Amiens    .... 


of  the 


Cathedral.     (From  Meloizes) 


PAGE 
285 
286 


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292 
294 
294 
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298 
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302 
302 
304 
304 
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XI 


MEDIEVAL     ARCHITECTURE 
CHAPTER  VII 

KOMANESQUE    ARCHITECTURE    OF   THE    ILE    DE    FRANCE 

HISTORICAL  conditions  of  the  He  de  France  in  the  XI  cen- 
tury were  in  sharp  contrast  to  those  of  Normandy,  where  the 
concentrated  monarchy  and  the  reformed  church  proved  so  favor- 
able to  the  development  of  architecture  at  the  same  period.  In 
the  royal  domain,  the  XI  century  was  the  age  of  feudalism,  a 
time  when  the  powerlessness  of  the  Capetian  monarch  reduced 
the  land  to  practical  anarchy.  It  was  above  all  the  age  of  the 
degradation  of  the  Church.  Yet  the  historian,  who  possesses 
the  great  advantage  of  knowing  what  was  to  come  after,  can 
easily  see  that  this  age  was  all  the  while  paving  the  way  for  the 
great  economic  advances  of  the  XII  century,  and  amid  the  dark- 
ness, he  is  consequently  able  to  trace  occasional  flashes  of  the 
coming  light.  Architecture,  however,  reflected  only  the  dark- 
ness; light  was  still  in  the  future  tense,  and  the  material  devel- 
opment of  art  is  always  influenced  by  the  present  or  even  by 
the  past,  rather  than  by  the  future. 

The  XI  century  was,  then,  in  general,  an  age  of  lawless 
feudalism.  The  Capetian  king,  sitting  on  his  hollow  throne, 
offered  a  strange  spectacle  of  mingled  misery  and  grandeur. 
The  impotent  monarch,  notwithstanding  the  pomp  of  his  title 
and  the  prestige  of  his  office,  was  totally  unable  to  cope  with 
the  lawless  feudal  lords  who  ran  riot  in  the  land.  Fearless  of 
the  king's  authority  these  barons  pillaged  and  burnt  at  will, 
and  racked  the  land  with  all  the  horrors  of  petty  warfare.  The 
very  excess  of  this  feudal  tyranny  and  oppression,  however,  at 
last  roused  the  indignation  of  the  people,  and  thus  was  kindled 
that  spark  of  popular  loyalty  and  democracy,  which  in  the  XII 


ROMANESQUE   ARCHITECTURE   OF   THE   ILE   DE   FRANCE 

century  burst  into  so  brilliant  a  flame,  and  enabled  the  Capetian 
king  to  subdue  and  bring  to"  order  one  after  another  of  the  great 
lords. 

Such  political  conditions  were  inevitably  reflected  in  the  Church. 
At  the  beginning  of  the  XI  century  simony  was  everywhere 
rampant;  many  bishoprics  had  even  become  the  hereditary 
patrimony  of  ducal  or  noble  families,  and  were  used  as  a  pro- 
vision for  younger  sons  or  bastards.  In  Gascony  a  single  baron 
possessed  no  less  than  eight  bishoprics,  and  passed  them  on  to 
his  heir,*  while  in  the  He  de  France  matters  seem  to  have  been 
not  much  better. 

Under  such  abuse  it  was  natural  that  the  episcopacy  should 
lose  its  temporal  power,  and  the  authority  of  the  bishops  was 
still  further  weakened  by  the  claims  of  the  popes,  which  as- 
sumed such  prominence  about  the  middle  of  the  century,  and 
by  the  constant  struggle  of  the  abbeys  to  gain  independence. 
The  spiritual  authority  of  the  bishops,  on  the  other  hand,  was 
endangered  by  the  very  fact  that  the  episcopacy  had  become 
feudal,  since  prelates,  who  were  also  great  lords  and  landed 
proprietors,  naturally  transferred  their  energies  from  ecclesi- 
astical to  secular  affairs. 

This  decadence  of  the  episcopacy  did  not  appear  everywhere, 
it  is  true,  in  the  same  degree.  In  one  see  the  bishop  was  scarcely 
to  be  distinguished  from  a  baron;  in  another  he  preserved 
something  of  his  spiritual  character,  his  independence,  and  his 
dignity.  But  everywhere  the  episcopacy  had  become  largely 
feudal.  In  the  Carolingian  epoch  the  king  had  named  the 
bishops,  and  the  palace  had  ruled  the  Church;  but  now  the 
Capetian  had  kept  his  authority  only  over  the  bishoprics  of 
Sens,  Reims,  Lyon,  Tours,  and  Bourges.^  Everywhere  else, 
in  Normandy,  in  Brittany,  in  Aquitaine,  or  in  Languedoc,  the 
duke  or  count  had  supplanted  the  king.  The  bishop  elect 
paid  the  local  feudal  lord  homage,  and  by  this  very  fact  the 
majority  of  bishoprics  were  transformed  into  fiefs,  and  the 
bishop  into  a  feudal  personage,  with  all  the  obligations  of  a  vassal. 

Here  again,  however,  the  very  degradation  of  the  Church 
caused  a  reaction,  for  the  danger  which  menaced  Christianity 

•  Lavisse,  Histoire  de  la  France  11',  111.  ^Lavisse,  op  cit.  IP,  108. 

2 


THE   CLUNIAC   REFORM 

became  so  apparent,  that  in  certain  monasteries  and  at  Rome 
there  came  into  being  a  current  of  opinion  destined  to  sweep 
over  all  Europe  as  the  Gregorian  reform.  To  tear  the  bishops 
from  the  temporal  interests  which  absorbed  them,  from  the 
feudal  customs  that  debased  them,  to  prevent  the  clergy  from 
becoming  secular,  —  this  was  the  program  of  the  first  phase  of 
the  Cluniac  movement.* 

It  was  in  the  last  half  of  the  XI  century  that  the  question 
of  reform  first  became  burning.  Leo  IX  (1049-54)  summoned 
a  great  council  at  Reims.  This,  the  first  alliance  of  Pope  and 
monasteries  for  the  purpose  of  reform,  attacked  simony  and 
especially  the  simony  of  bishops,  several  of  whom  were  deposed. 
Everything  depended  upon  the  attitude  which  the  bishops 
should  assume  in  answer  to  these  measures.  In  fact,  the  epis- 
copacy was  divided  as  to  the  course  to  be  pursued.  A  few 
bishops  quietly  acquiesced  in  the  Cluniac  program;  the  vast 
majority,  however,  remained  faithful  to  the  traditions  and 
interests  of  the  episcopal  body,  and  demanded  the  maintenance 
of  old  conditions.  When  the  character  of  the  episcopacy  is 
considered,  the  wonder  is,  not  that  the  majority  of  the  bishops 
sided  with  the  old  regime,  but  that  any  accepted  the  ideas  of 
Cluny. 

If  the  bishops  were  divided  on  the  question  of  the  Gregorian 
reform,  the  monastic  world  in  overwhelming  majority  was  ultra- 
montane. There  could  be  only  one  result.  France  became  in 
the  second  half  of  the  XI  century  the  scene  of  a  desperate 
battle  between  the  non-reforming  bishops  and  the  abbots. 
This  strife  of  the  two  clergies,  the  secular  and  the  regular,  was 
only  an  incident  of  an  antagonism  as  long  as  their  existence; 
but  never,  before  nor  after,  did  the  quarrel  degenerate  into  such 
open  warfare.  On  both  sides  recourse  was  had  to  physical 
violence.  Other  powers  entered  the  lists:  the  papacy  and  the 
reforming  bishops  backed  the  cause  of  the  abbots;  the  party 
of  the  non-reforming  bishops  was  supported  by  the  king  and 
the  feudal  lords,  that  is,  by  those  laymen  who  did  not  wish  to 
be  deprived  of  their  power  over  the  Church. 

This  position  of  the  king  on  the  side  opposed  to  reform  is 

'  Lavisse,  op.  cit.  n  ',  108. 
3 


ROMANESQUE   ARCHITECTURE   OF   THE   ILE   DE   FRANCE 

noteworthy.  At  the  beginning  of  the  XI  century  the  Capetian 
monarchs  had  firmly  beHeved  in  the  rehgious  superiority  of 
the  monks,  and  they  had  admired  the  efforts  of  certain  reformers, 
notably  the  abbots  of  Cluny,  to  introduce  into  the  cloister  of 
the  order,  the  regularity,  the  discipline  of  the  ascetic  ideal.  In 
consequence  they  had  been  inclined  to  favor  the  monasteries 
and  even  to  increase  their  power  by  emancipating  them  from 
the  control  of  the  bishops.  Furthermore,  in  addition  to  this 
purely  altruistic  preference,  the  kings  were  not  slow  to  per- 
ceive that  the  royal  authority  had  much  more  to  fear  from  the 
power  of  the  bishops  than  from  that  of  the  abbots.  Thus 
under  Robert  I  (996-1031)  the  monarchy  became  openly  the 
champion  of  the  monks,  and  defended  them  against  their  en- 
emies. The  episcopal  body  complained  bitterly  against  this 
partiality,  as  is  witnessed  by  a  satirical  poem  Adalberon,  bishop 
of  Laon.' 

The  extreme  pretensions  of  the  pope,  however,  at  last  tried 
the  patience  of  the  Capetians,  and  forced  them  to  support  the 
non-reforming  bishops.  Still  this  support  was  always  half- 
hearted, and  after  a  time  the  king  changed  back  again  to  his 
original  position  on  the  side  of  the  monks.  His  temporary 
aid,  however,  enabled  the  bishops  to  prolong  the  strife  up  to 
the  very  end  of  the  XI  century  (1099). 

Although  king  and  bishop  might  join  forces  to  oppose,  they 
were  powerless  to  prevent  the  popes  from  founding  their  uni- 
versal monarchy  over  the  consciences  of  Christians  and  over 
the  Christian  Church.  All  the  Middle  Ages  had  been  tending 
towards  this  end.  From  the  days  of  Charlemagne,  the  papacy 
had  been  steadily  undermining  the  episcopal  power,  both  from 
above  by  opposing  the  claims  to  power  of  the  archbishops,  and 
from  below  by  favoring  the  independence  of  the  chapters  and 
abbeys.  The  clergy  of  France,  with  some  few  exceptions, 
ended  by  yielding  to  the  irresistible  force  which  concentrated 
at  Rome  all  the  thoughts  and  all  the  energies  of  the  religious 
world. 

The  condition  of  the  French  Church  in  the  XI  century  was 
therefore  one  of  strife  and  turmoil  —  a  state  of  affairs  far  differ- 

•  Lavisse,  op.  cit.  II,'  119. 
4 


RELIGIOUS   ENTHUSIASM 

ent  from  that  which  prevailed  in  the  Church  of  Normandy, 
where  the  alliance  of  duke,  pope,  and  monk  had  downed  the 
reactionary  bishops  almost  without  a  struggle,  and  had  secured 
the  triumph  of  reform  half  a  century  earlier  than  the  Cluniac 
ideas  were  established  in  France.  Nor  were  French  ecclesi- 
astical conditions  analogous  to  those  which  prevailed  at  the 
same  time  in  the  Empire,  where  emperor  was  pitted  against 
pope,  Germany  against  Italy,  and  the  German  episcopacy  as 
a  rule  backed  the  emperor.  In  France  the  struggle  took  on 
more  of  a  civil  character,  it  became  a  battle  between  two  in- 
ternal factions  of  the  French  Church,  fought  to  the  bitter  end 
at  a  time  when  the  pope  was  too  busily  engaged  with  the  Em- 
pire to  be  able  to  intefere  effectually,  and  when  the  king  was 
too  half-hearted  to  exert  all  his  power  on  one  side  or  on  the 
other. 

This  civil,  internal  strife,  although  doubtless  far  less  dra- 
matic than  the  spectacular  struggle  of  the  Empire  and  the  Papacy 
with  its  climax  at  Canossa,  was  yet  in  its  way  no  less  vital  and 
exhausting.  It  is,  therefore,  not  surprising  that  the  French 
Church  had  no  resources  left  for  magnificent  building,  and  that 
French  art  remains  up  to  the  very  end  of  the  XI  century  falter- 
ing and  obscure,  the  most  timid  of  all  the  schools  of  Roman- 
esque Europe. 

Thus  between  feudal  anarchy  and  the  schism  in  the 
Church,  architecture  found  little  sustenance  in  the  He  de  France 
during  this  period.  There  were,  however,  a  certain  number  of 
circumstances  favoring  the  growth  of  art.  Although  the  fruit 
of  these  was  fully  reaped  only  in  the  XII  century,  the  founda- 
tions were  laid  during  the  Romanesque  period.  The  most 
important  of  all  these  favoring  causes  was  the  enormous  growth 
of  religious  enthusiasm,  —  an  enthusiasm  that  found  expres- 
sion in  the  Cluniac  reform,  which  it  stimulated  and  by  which 
it  was  in  turn  itself  stimulated,  but  that  attained  its  most  strik- 
ing manifestation  in  the  First  Crusade  (1096)  —  "gesta  Dei  per 
Francos."  Familiar  as  is  the  story  of  the  expedition,  it  is  diffi- 
cult for  us  to-day  to  grasp  the  depth  of  religious  feeling,  the 
exalted  faith,  the  hysteria,  that  lay  behind  this  extraordinary 
movement.     We   of   the   XX   century   cannot   comprehend   the 

5 


ROMANESQUE   ARCHITECTURE    OF   THE   ILE   DE   FRANCE 

fanaticism  so  blind  and  yet  so  sublime,  that  sent  a  quarter  of 
the  population  of  Europe  to  face  nearly  certain  death  in  the 
Holy  Land.  But  the  crusade  was  only  a  beginning.  In  the  XII 
and  XIII  centuries  there  ensued  other  miracles  of  faith  that 
almost  equaled  this,  the  supreme  miracle.  It  is  significant 
that  the  First  Crusade  was  preeminently  a  French  achievement; 
already  France  was  assuming  that  supremacy  in  religious 
fervor  and  intellectual  activity  that  she  maintained  so  proudly 
throughout  the  later  Middle  Ages. 

Another  manifestation  of  the  religious  feeling  of  the  age  is 
to  be  found  in  two  mystic  institutions  of  the  period,  the  Peace 
of  God,  and  the  Truce  of  God,  both  ideas  essentially  French 
which  soon  spread  over  all  Europe.  The  Peace  of  God  aimed 
at  protecting  from  violence  certain  classes  of  victims,  whom  it 
was  forbidden  to  harm  at  any  time  in  the  course  of  warfare. 
The  Truce  of  God,  on  the  other  hand,  forbade  all  warfare 
during  certain  periods  rigidly  fixed.  Both  institutions  tended 
to  curb  the  violence  of  the  feudal  lords  and  add  to  the  economic 
prosperity  of  the  country. 

While  the  religious  sense  was  thus  awakening,  there  were 
not  lacking  signs  of  an  intellectual  revival  even  as  early  as  the 
XI  century.  Berengar,  the  first  great  heretic  and  free  thinker, 
died  in  1088.  During  the  XI  century  were  founded  most  of 
the  schools  of  the  He  de  France  that  were  afterwards  to  attain 
such  fame :  —  Reims,  Chartres,  Laon,  Angers,  Paris,  and  Or- 
leans. 

Similarly,  intercommunication  developed  in  the  XI  century 
to  a  most  surprising  degree.  There  was  constant  circulation 
not  only  between  the  various  parts  of  France,  but  between 
France  and  foreign  nations.  This  society,  that  it  is  traditional 
to  picture  as  a  sort  of  frozen  skeleton,  was  in  reality  constantly 
in  motion.  The  cities  had  their  merchants  who  were  contin- 
ually sailing  up  and  down  the  rivers  of  France,  and  who  jour- 
neyed into  far  countries  by  sea  or  by  land  to  sell  or  buy  their 
wares.  Before  the  XI  century  the  merchants  of  Normandy 
had  swarmed  over  Britain;  those  of  Flanders  and  Lorraine 
frequented  the  markets  of  Germany  and  even  those  of  Italy 
and   Spain.     The  clergy  were  always  traveling,  moving  hither 

6 


RISE   OF   THE   MERCHANT   GUILDS 

and  thither  on  various  missions,  or  to  attend  councils  of  the 
Church.  The  relations,  ever  becoming  closer,  which  bound 
the  higher  clergy  to  the  court  of  Rome,  tended  to  make  it  obli- 
gatory for  each  prelate  to  journey  at  least  once  to  the  See  of  St. 
Peter;  and  those  clerks  who  were  intelligent  or  ambitious  went 
to  attend  the  monastic  or  episcopal  schools  distinguished  for 
learning,  for  any  priest  who  wished  to  rise  must  follow  the  les- 
sons of  the  masters  at  Orleans,  or  Paris,  or  Angers,  or  Reims, 
or  Bee,  or  Poitiers,  or  Cluny.  The  peasants  and  serfs  now 
free,  or  half  free,  were  no  longer  attached  to  the  soil,  and  many 
of  them  wandered  here  and  there  seeking  the  work  of  clearing 
or  cultivating  land.  These  laborers  who  went  from  one  place 
to  another  offering  their  services  to  the  highest  bidder  formed  a 
regularly  recognized  social  class  and  are  called  in  contempo- 
rary documents  "guests"  {hospites,  hahitatores)  or  "strangers" 
{convenae,  advenae,  pulvera,  albani).  Thus  not  only  France, 
but  all  Europe,  was  in  constant  motion,  and  an  idea  discovered 
in  one  place,  was  not  slow  to  make  its  way  everywhere. 

To  the  XI  century  belong  the  beginnings  of  the  corporations 
or  merchant  guilds  of  the  Middle  Ages.  In  the  cities  the  work- 
men of  certain  trades  began  to  unite  in  brotherhoods  of  a  relig- 
ious character.  Not  being  able  to  count  on  the  protection  of 
their  feudal  lords,  they  gradually  came  to  acquire  the  habit  of 
defending  themselves,  and  for  this  end  they  often  lived  in  the 
same  street  or  quarter.  Thus  the  workmen  grouped  together 
in  the  same  section  of  the  town  according  to  their  trade,  com- 
menced to  form  corporations  at  first  directed  and  watched  over 
by  the  officers  of  the  bishop  or  lord.  These  corporations,  little 
by  little,  became  more  independent  until  they  acquired  the  power 
to  elect  their  own  chiefs  and  make  their  own  rules,  but  this 
movement  culminated  only  in  the  XII  century. 


Architecture  in  the  XI  century  was  weaker  in  the  royal  do- 
main than  elsewhere  in  France.  Since  there  is  extant  of  this 
period  not  a  single  monument  of  size,  we  are  forced  to  judge 
of  its  progress  and  character  as  best  we  may  from  the  few 
unimportant  country   churches   that   have   come   down   to   us. 

7 


ROMANESQUE   ARCHITECTURE   OF   THE   ILE   DE   FRANCE 

Fortunately,  these  documents,  though  very  few  and  small,  are 
unusually  well  dated,  and  show  quite  clearly  the  development 
of  the  style  during  at  least  the  last  half  of  the  XI  century.  They 
have  also  been  studied  and  published  with  exceptional  care, 
so  that  the  chronology  of  this  architecture  offers  less  difficulty 
than  that  of  many  more  important  styles. 

Before  studying  the  school  of  the  lie  de  France  itself,  it  is 
worth  while  to  glance  at  the  characteristics  of  certain  of  its  near 
neighbors.  There  was  a  constant  interchange  of  influence  be- 
tween the  various  schools  of  Romanesque  France,  and  it  is 
impossible  to  study  intelligently  the  progress  of  any  one  without 
knowing  something  of  what  was  going  on  next  door.     Now  the 


III.  154.  —  Section  of  Choir  of  Genouilly. 
(From  De  Kersers) 

He  de  France  lay  geographically  midway  between  Normandy 
and  the  South;  and  in  fact  its  Romanesque  architecture  was 
half  way  between  the  styles  of  Normandy  and  of  several  of  the 
Southern  schools,  and  borrowed  peculiarities  now  from  one,  now 
from  the  other  of  these  tAvo  sources. 

Of  the  features  borrowed  from  the  South  the  most  impor- 
tant was  the  ambulatory,  a  construction  which,  we  have  seen, 
had  been  employed  at  Tours  and  Le  Mans  in  the  Carolingian 
era,  but  which  never  appeared  in  Normandy  before  the  Gothic 
period.  In  the  He  de  France  itself  the  ambulatory  does  not 
occur  before  the  XII  century,  but  it  was  frequently  employed 
during  the»  XI  century  in  the  neighboring  Southern  schools. 
In  x\uvergne  it  became  a  regular  characteristic  of  the  local  style, 
with  the  peculiarity,  however,  that  the  radiating  absidioles  are 

8 


III.   155.  —  North  Aisle  of  Morienval 


SCHOOL   OF   BERRY 

even,  instead  of  odd,  in  number,  so  that  none  is  placed  on  the 
axis.  In  the  school  of  Berry,  there  are  one  or  two  examples 
of  XI  century  ambulatories,  and  still  further  north,  in  the  de- 
partement  of  Loiret,  on  the  very  edge  of  the  French  Romanesque 
style,  there  is  an  excellent  example  at  St.-Benoit-sur-Loire.  The 
primitive  cathedral  of  Chartres  seems  also  to  have  been  sup- 
plied with  an  ambulatory. 

Thus  the  tradition  of  an  ambulatory  was  kept  alive  just 
outside  the  border  of  the  He  de  France,  and  must  have  been 
perfectly  familiar  to  the  builders  of  the  royal  domain,  when  in 
the  XII  century  they  were  ready  to  take  up  the  motive  and  give 
it  so  surprising  a  development. 

No  school  of  architecture  is  more  closely  related  to  the 
Romanesque  of  the  He  de  France  than  that  of  Berry,  whose 
monuments,  for  the  most  part  small,  have  been  made  accessible 
in  large  part  through  the  systematic  labors  of  M.  de  Kersers. 
The  most  striking  peculiarity  of  the  school  is  perhaps  the  treat- 
ment of  the  choir,  which  regularly  consists  of  three  aisles,  each 
terminating  in  an  apse.  These  aisles  are  separated  not  by  piers 
but  by  round  slender  columns  bearing  arches  (111.  154),  —  an 
arrangement  which  became  so  traditional  that  even  where  the 
side  aisles  are  omitted  a  reminiscence  of  the  usual  design  is 
preserved  in  arcades  built  along  the  choir  walls.  This  peculiar- 
ity in  the  design  of  the  choir  is  also  frequently  found  in  the  He 
de  France. 

The  second  prominent  characteristic  of  the  churches  of 
Berry  is  the  use  of  the  barrel  vault,  which  was  employed  almost 
invariably  in  the  choir  and  transepts,  apparently  from  the  very 
earliest  years  of  the  XI  century.'  These  barrel  vaults  were  in 
the  XI  century  semicircular;  but  at  Pleinpied  there  is  a  pointed 
barrel  vault  in  a  church  which  appears  to  be  authentically 
dated  1080-92,  and  in  the  XII  century  the  pointed  barrel 
vault   was    regularly   employed    in    Berry.     Now    barrel  vaults 

'  The  chronology  of  the  monuments  of  Berry  is  not  at  all  clear,  owing  to  the  unfortunate 
lack  of  docimientary  evidence.  It  is  certain,  however,  that  the  school  was  advanced;  if  its 
monuments  are  small,  they  yet  show  skilful  technique  and  execution.  M.  de  Kersers  has  un- 
fortunately not  given  the  chronology  of  these  churches  the  study  it  deserves.  I  do  not  hesitate, 
however,  to  follow  him  in  assigning  St.  Aoustrille  and  other  barrel-vaulted  choirs  to  before  the 
year  1050. 

9 


ROIVIANESQUE   ARCHITECTURE    OF   THE   H^E   DE   FRANCE 

are  characteristic  of  the  royal  school  in  the  second  half  of  the 
XI  century;  and  the  earliest  pointed  arch  that  has  come  down 
to  us  in  the  lie  de  France  dates  from  at  least  twenty  years  later 
than  the  vaults  of  Pleinpied.  Consequently  it  seems  probable 
that  both  these  features  were  borrowed  from  Berry  by  the  French 
builders.' 

In  other  respects  the  churches  of  the  Cher  differed  radically 
from  those  of  the  He  de  France,  or  even  borrowed  from  the 
latter  school.  Buttresses  for  the  nave  vaults  seem  seldom  to 
have  been  provided,  since  the  small  size  of  most  of  the  build- 
ings enabled  the  masons  to  raise  a  barrel  vault  even  above  a 
clearstory  without  danger.  In  a  few  churches,  however,  half 
barrel  vaults  thrown  across  the  aisles  were  made  to  abut  the 
great  vaults  of  the  nave,  —  an  arrangement  entirely  analogous 
to  the  dispositions  of  St.  Sernin  of  Toulouse  (111.  130).  Pilaster 
strips  marked  the  bays  externally,  and  were  often  very  salient 
even  at  an  early  period.  The  crossing  was  covered  usually 
with  a  dome  or  an  octagonal  cloistered  vault  on  squinches  or 
even  on  pendentives.  These  domes  were  a  thoroughly  Lom- 
bard feature  and  one  never  adopted  in  the  He  de  France.  The 
transept  was  almost  universal  in  Berry  even  in  the  smallest 
churches;  on  the  other  hand,  the  nave  was  often  of  a  single 
aisle,  even  when  there  were  three  aisles  in  the  choir.  Transeptal 
absidioles  were  well-nigh  universal.  The  central  tower  was 
frequently  placed  on  piers  falUng  within  the  nave  walls,  thus 
lea^-ing  a  passage  from  the  nave  directly  into  the  transept. 

The  character  and  execution  of  the  ornament  in  Berry  was 
usually  inferior  to  contemporary  work  elsewhere.  The  chief 
elements  were  the  che%Ton  and  chipped  zig-zag,  both  perhaps 
imported  from  Normandy;  the  billet  moulding  and  engaged 
arcade  of  Carolingian  tradition;  the  flat  and  arched  corbel- 
tables  with  grotesque  car^•ings,  derived  (perhaps  indirectly) 
from  Lombardy.  The  flora,  on  the  other  hand,  was  either  na- 
tive or  derived  from  the  neighboring  schools  of  the  South.  ^Miile 
there  is  a  continuous  and  marked  progress  in  ornamentation, 
this  art  always  remained  backward,  and  the  portals  in  especial, 
even  in  the  XII  century,  show  nothing  to  rival  the  magnificent 

1  Horseshoe  arches  occur  in  Beny  at  Charenton,  Limeux,  and  Vesdun. 

10 


THE   ROYAL   SCHOOL 

doorways  of  England,  Normandy,  Lombardy,  or  Provence. 
The  survival  of  classic  tradition  in  Berry,  as  throughout  the 
south  of  France,  led  to  a  certain  awkwardness  in  the  propor- 
tions of  capitals  and  columns. 

The  fa9ades  of  Berry  were  usually  characterized  by  a  Greek 
cross,  placed  in  the  gable,  and  by  the  peculiar  portals  which 
were  often  flanked  by  two  blind  arches,  the  whole  being  built 
out  into  a  sort  of  edicule  submerging  the  buttresses.  Towers 
were  for  the  most  part  without  character  or  interest,  and  form 
a  sorry  contrast  to  those  of  Normandy  or  of  the  He  de  France. 
About  the  middle  of  the  XII  century  they  came  to  be  placed  at 
the  west  end,  instead  of  over  the  crossing.  Rib  vaults  were 
unknown  until  the  middle  of  the  XII  century,  when  they  were 
introduced  from  the  He  de  France  at  Angy-sur-l'Aubois. 
Square  east  ends  were  never  built  before  the  XIII  century. 

Before  the  year  1100,  the  school  of  the  royal  domain  re- 
mained far  weaker  than  even  its  modest  neighbor  of  Berry. 
The  direct  heir  of  Carolingian  tradition,  it  seems  to  have  pre- 
served unaltered  during  the  first  half  of  the  XI  century  the  Caro- 
lingian forms  in  all  their  crudity.  Four  monuments  have  come 
down  to  us  that  may  be  ascribed  to  this  epoch ;  ^  they  are  all 
characterized  by  the  use  of  rectangular  piers  and  archivolts 
of  a  single  order,  and  are  constructed  of  rubble  or  herring-bone 
masonry  with  a  minimum  of  ornament.  Vaults  were  used  only 
in  the  half -dome  of  the  apse.  In  a  word,  the  whole  structure 
shows  but  the  slightest  advance  ^  over  such  a  monument  as  the 
Basse  Oeuvre.  It  is  interesting  that  one  of  these  monuments 
of  the  first  half  of  the  XI  century  —  the  chapel  at  Filain  —  has 
a  square  east  end.  About  the  middle  of  the  XI  century, 
certain  innovations  were  introduced.  The  archivolts  were 
built  in  two  orders  (111.  155,  156)  instead  of  in  one,  and  to 
support  this  second  order  a  colonnette  was  engaged  at  either 
end  of  the  pier  (111.  155,  156).  This  arrangement  which  be- 
came very  typical  of  the  He  de  France  persisted  into  the  XII 

1  Filain  (Aisne),  St.-Remi-rAbbaye  (Oise),  Sarron  (Oise),  and  Rue-St.-Pierre  (Oise). 
^  The  prevailing  opinion  that  the  size  of  the  windows  is  a  sure  test  of  the  age  of  a  Roman- 
esque structure  is  erroneous.     The  size  of  the  windows  seems  to  have  been  purely  arbitrary. 

11 


ROMANESQUE   ARCHITECTURE   OF   THE   ILE   DE   FRANCE 

century.  The  barrel  vault  *  also  appeared  in  the  second  half 
of  the  XI  century,  being  ^employed  over  the  choir  and  crossing, 
and  even  over  the  transepts,  although  at  this  period  the  nave 
was  never  vaulted.  About  the  same  time  the  groin  vault  came 
into  use  (111.  155).  Employed  timidly  at  first,  and  only  in  the 
side  aisles  (as  at  Rhuis,  c.  1050),  by  the  end  of  the  century  it 
had  been  used  at  Trouquoy  to  vault  even  the  great  choir.  In 
the  side  aisles  it  was  regularly  constructed  with  transverse  ribs 
(111.  155).  The  plan  in  general  preserved  throughout  the  XI 
century  its  Carolingian  characteristics  —  transeptal  absidioles, 
and  a  choir  lengthened  at  most  one  bay. 

About  the  year  1075  shafts  engaged  on  the  faces  of  the  piers 
appeared  in  the  He  de  France  (111.  156).  These  shafts  were 
probably  borrowed  from  Normandy,  although  the  French 
builders  of  this  time  were  undoubtedly  acquainted  with  the 
architectural  achievements  of  Lombardy.  We  have  seen  that 
the  Norman  builders  borrowed  the  engaged  shaft  together  with 
the  alternate  system  from  Lombardy,  but  rejected  the  trans- 
verse arch.^  At  the  Abbaye-aux-Dames  they  had  applied  the 
engaged  shaft  to  a  uniform  system.  Now  the  fact  that  in  the 
He  de  France  the  engaged  shaft  was  always  employed  in  con- 
nection with  a  uniform  system  (the  alternate  system  never  oc- 
curs in  the  royal  domain  at  the  period  ')  seems  to  prove  that 
this  feature  was  derived  from  Normandy  rather  than  from  Lom- 
bardy direct.  Although  engaged  shafts  were  never  as  uni- 
versally adopted  in  the  He  de  France  as  in  Normandy  —  the 
old  flat  type  of  pier  persisted  in  perhaps  the  majority  of  build- 
ings (111.  157)  — yet  the  use  of  shafts  was  frequent,  and  examples 
may  be  found  at  Morienval  (111.  156),  St.-Thibaud-de-Bazoches, 
Berny,  Riviere,  etc.  Most  singular  of  all,  in  certain  monuments 
(Berny,  Riviere,  and  St.-Leger-aux-Bois)  analogous  shafts  are 
engaged  on  the  aisle  side  of  the  piers.     This  curious  construc- 

1  e.  g.  at  Rhuis,  Montlevon,  etc. 

^  How  extended  was  Lombard  influence  is  proved  by  the  fact  that  at  a  later  period  the  De 
de  France  borrowed  these  transverse  arches  besides  many  other  motives  from  Lombardy.  Such 
transverse  arches  are  found  at  Bethisy-St.-Martin,  Trucy,  Vailly,  and  Cemy-en-Laonnais.  Ex- 
amples are  also  found  at  Lavardin  (Loire-et-Cher)  dating  from  the  XI  century. 

'  The  earliest  example  of  the  alternate  system  in  the  He  de  France  occurs  at  Melim 
c.  1100. 

12 


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MORIENVAL 

tion  is  also  Norman,  and  occurs  at  Notre  Danie-sur-l'Eau  of 
Domfront.^ 

But  little  ornament  was  employed,  generally  speaking,  in 
the  French  Romanesque  monuments  of  the  XI  century  (111.  157). 
Most  interesting,  however,  is  the  use  of  griffes  (111.  155)  which 
must  have  been  derived  from  Lombardy.  Chevrons  and  dog- 
tooths  do  not  occur  in  the  XI  century.  The  capitals  have  usu- 
ally a  great  volute  under  each  angle  of  the  abacus  (111.  155) ; 
the  bases  have  an  attic  profile.  The  roped  moulding  is  com- 
mon. Arched  corbel-tables  usually  have  a  triangular  form 
peculiar  to  this  region  —  a  good  example  of  this  ornament  may 
be  found  at  St.  Baudry,  Aisne.  Arcades  are  used  especially 
towards  the  end  of  the  century.  The  single  ornamental  inno- 
vation introduced  in  this  period  was  the  plated  ribbon  mould- 
ing whose  character  is  clear  from  the  reproduction  (111.  197). 
This  motive,  peculiar  to  the  He  de  France,  assumed  great  prom- 
inence in  the  XII  century. 

ROMANESQUE   MONUMENTS   OF  THE   ILE   DE 

FRANCE 

Monuments   of  the  First   Class 

MORIENVAL,  Oise.  Abbaye  Notre  Dame.  (lU.  155,  156,  164,  186.)  This 
monimient  offers  the  best  extant  example  of  two  crucial  periods  in  the  history  of 
architecture  —  the  Romanesque  of  the  XI  century  and  the  first  phase  of  the  transi- 
tion. The  Romanesque  church,  as  restored  by  M.  Lefevre-Pontalis,  consisted  of  a 
nave  three  bays  long;  of  two  side  aisles  returned  across  the  western  front  so  as  to  form 
an  interior  narthex,  over  the  central  bay  of  which  rose  a  western  tower;  of  transepts 
with  eastern  absidioles;  and  of  a  choir,  a  single  bay  long,  ending  in  a  semicircular 
apse  and  flanked  by  two  towers,  whose  lower  stories  formed  a  lateral  chamber 
opening  off  the  transepts.  The  piers  separating  the  aisles  were  square  with  four 
engaged  shafts,  one  on  each  face:  the  shafts  facing  the  nave  were  continued  as  a 
system  to  the  roof,  although  the  main  body  of  the  church  was  not  vaulted,  but  cov- 
ered with  timber;  those  at  the  ends  of  the  piers  supported  the  second  order  of  the 
archivolts;  those  towards  the  side  aisles,  the  transverse  ribs  of  the  groin  vaults  with 
which  these  aisles  were  covered.  The  transepts  had  a  timber  roof,  as  did  the  cross- 
ing; the  choir  was  covered  with  a  round  barrel  vault,  and  the  apse  with  a  haK-dome. 

1  M.  LefCTTe-Pontalis  finds  no  indications  that  the  Romanesque  monuments  of  the  Ee  de 
France  were  affected  by  foreign  influence.  — Architecture  religieuse  dam  Vancien  diocese  de  Sois- 
sons,  passim. 

13 


ROMANESQUE   MONUMENTS   OF   THE   ILE   DE   FRANCE 

Of  this  church  there  remains  to-day  only  the  three  towers,  portions  of  the  piers  of 
the  crossing,  and  the  piers  on  the  north  side  of  the  nave.  The  aisle  vaults  have  been 
entirely  reconstructed,  but  doubtless  on  the  original  plan,  for  the  section  of  the  piers 
shows  that  transverse  arches  existed  in  the  north  aisle,  and  certain  debris  found  in 
1853  proves  that  the  intermediate  spaces  were  groin-vaulted.  Whether  these  vaults 
were  contemporary  with  the  original  church  is  open  to  question,  but  probable.  Since 
the  vaults  must  have  been  erected  on  an  oblong  plan,  the  restorers  have  probably 
made  no  error  in  doming  the  crowns.  While  there  is  no  documentary  evidence  for 
the  date  of  the  XI  century  building,  archaeologists  are  agreed  in  assigning  it  to  the 
last  half  of  the  XI  centurj',  and  I  should  place  it  c.  1080.  At  all  events,  early  in  the 
XII  century  important  works  of  reconstruction  were  begun,  the  old  apse  being  re- 
placed by  the  now  world-famous  ambulatory.  Since  the  old  towers  of  the  XI  century 
edifice  prevented  access  to  this  ambulatory  from  the  side  aisles,  and  since  the  ambu- 
latory itself  was  extremely  narrow  —  the  distance  between  the  piers  is  only  0.65  meters, 
or  about  two  feet  —  this  structure  must  have  been  added  solely  to  provide  room  for 
additional  altars.  The  ambulatory,  which  comprises  in  all  four  bays,  is  semicircular 
in  plan  and  separated  from  the  choir  by  round  columns;  its  interest  centers  in  the 
rib  vaults  erected  on  a  curved  plan  —  the  earliest  known  example  of  such  a  construc- 
tion. These  vaults  are  characterized  by  imperfectly  pointed  transverse  arches,  by 
pointed  arcade  arches,  and  by  much  depressed  wall  ribs.  The  curved  form  given  in 
plan  to  the  diagonal  ribs  seems  to  show  an  effort  to  avoid  the  extreme  one-sided  posi- 
tion of  the  longitudinal  ridge  which  would  have  resulted  had  they  been  straight.  The 
date  of  this  ambulatory  has  been  endlessly  discussed.^  No  one  believes  any  longer 
in  the  old  attribution  to  c.  1080.  M.  Anthyme  St.  Paul  has  recently  brought  forward 
a  text  which  relates  that  new  relics  were  acquired  by  the  church  in  1122;  he  plausibly 
suggests  that  the  ambulatory  was  built  to  accommodate  these.  M.  Enlart  seems 
inclined  to  agree  with  this  hypothesis,  but  M.  Lefevre-Pon talis  assigns  c.  1110  as  the 
latest  date  possible."  I  am  inclined  to  accept  the  theory  of  M.  St.  Paul.  The  high 
vaults  of  the  choir  were  reconstructed  about  the  same  time  (1122),  the  straight  bay 
being  covered  with  a  rib  vault  (which  still  survives)  and  the  chevet  with  a  ribbed  half- 
dome.  This  ribbed  half-dome  was  subsequently  (about  the  middle  of  the  XIV  cen- 
tury) replaced  by  the  present  polygonal  chevet  with  radiating  rib  vault.  Thus  this 
part  of  the  choir  was  in  all  three  times  remodeled.  The  remainder  of  the  church  has 
also  been  much  altered:  the  great  chapel  of  the  transept  was  added  in  1240;  in  1652 

'  See  Bibliography. 

^  Since  these  words  were  written  there  has  appeared  a  new  contribution  to  the  "  Morienval 
question."  In  the  course  of  restorations  executed  in  1901  the  bases  of  the  columns  of  the  chevet 
were  excavated.  These  proved  that  the  apse  of  the  XII  century  church  was  ftimished  with  ribs. 
It  is  impossible  to  suppose  that  the  ribbed  half-dome  was  not  erected  at  the  same  time  as  the 
rib  vault  of  the  straight  bay  of  the  choir.  The  demohtion  of  the  XI  century  barrel  vault  which 
preceded  the  original  apse  was  a  consequence  of  the  reconstruction  of  the  chevet  with  ambula- 
tory in  the  XII  century,  for  this  vault  could  not  be  adjusted  to  a  pointed  half-dome  of  higher 
level.  Therefore  M.  Lefevre-Pontahs  concludes  that  his  former  hj'potheses  are  disproved,  and 
that  the  chevet  and  its  vaults,  both  of  the  ambulatory  and  the  choir,  were  rebuilt  at  a  single 
time  between  the  years  1120  and  1130. 

14 


MONUMENTS   OF   THE   THIRD    CLASS 

the  abbess  Anne  III  Foucault  vaulted  the  nave  and  the  crossing;  and  in  the  XVII 
century  the  southern  side  of  the  nave  and  the  south  side  aisle  were  also  reconstructed. 

Monuments  of  the  Third  Class 

RHUIS,  Oise.  Eglise  (111.  157,  158)  consists  of  a  nave,  two  side  aisles  terminat- 
ing to  the  eastward  in  rectangular  walls,  a  choir,  and  a  semicircular  apse.  A  plaster 
vault  now  occupies  the  place  of  the  timber  roof  which  formerly  surmounted  the  nave; 
the  apse  retains  its  half -dome;  the  eastern  bay  of  the  north  aisle  is  covered  with  a 
groin  vault,  undomed,  evidently  contemporary  with  the  nave;  the  eastern  bay  of  the 
south  aisle  is  surmounted  by  a  rib  vault,  also  undomed,  clearly  an  addition  to  the 
original  structure  since  the  ribs  are  carried  on  corbels;  and  the  remainder  of  the  side 
aisles  are  roofed  in  timber,  as  they  always  have  been.  The  plain  rectangular  piers 
carry  unmoulded  arches  of  a  single  order,  and  the  walls  above  are  broken  only  by 
small  clearstory  windows.  The  exterior  is  notable  chiefly  for  the  tower  —  perhaps 
the  oldest  in  the  He  de  France  or  Picardy  —  and  for  the  apse  adorned  with  shafted 
windows  and  flat  corbel-tables.  M.  Lefe^Te-Pontalis  assigns  the  main  body  of  the 
church,  together  with  the  groin  vault  of  the  north  aisle  to  the  middle  of  the  XI  century; 
but  the  rib  vault  of  the  south  aisle  he  believes  dates  from  the  first  years  of  the  XII 
century.'     (Lefevre-Pontalis,  Arch.  Rel.  I,  211;  Moore,  50.) 

BINSON,  Marne.  Prieure.  "In  the  year  of  the  incarnation  of  the  Word,  1069, 
while  Odabric,  prevot  of  the  church  of  Reims  was  renovating  this  altar,  he  found 
beneath  it  the  sarcophagus  of  the  blessed  virgin  Posenne,  parts  of  whose  body  were 
within,  where  they  had  been  placed  in  former  times;  and  as  he  had  found  it,  so  he 
replaced  it  in  the  same  spot."  ^  The  restorations  referred  to  in  this  inscription  must 
have  included  the  construction  of  the  present  choir  whose  style  indicates  the  last  half 
of  the  XI  century.  The  existing  nave,  roofed  in  timber,  is  clearly  later  than  the 
choir,  and  may  be  assigned  to  the  first  years  of  the  XII  century.  The  edifice  consists 
of  a  nave  four  baj's  long,  two  side  aisles,  non-projecting  transepts,  a  choir  flanked  by 
lateral  chambers,  and  three  eastern  apses.  Pilasters  are  engaged  on  the  lateral  faces 
of  the  piers  to  support  the  extra  orders  of  the  archivolts,  but  there  is  no  system.  The 
transepts,  choir,  and  crossing  are  barrel-vaulted;  the  apses  are  surmounted  by  half- 
domes.  To  support  the  weight  of  the  central  tower,  the  north  nave  wall  is  carried 
across  the  transept,  unbroken  save  for  two  little  archways.  The  southern  transept, 
whose  vault  is  perpendicular  to  that  of  the  crossing,  opens  on  this  part  of  the  building 
by  a  round  arch  in  two  orders.  The  choir  deviates  to  the  north.  Externally  the  church 
is  notable  for  the  tower  of  the  XII  century,  the  apse  decorated  with  engaged  arcades, 
and  the  bases  supplied  with  griffes.     (Lefevre-Pontalis,  Arch.  Rel.  I,  179.) 

Other  MoNtiMENTS 
BERNY-RrVTERE,  Aisne.     St.  Martin  consists  of  a  nave  preceded  by  a  nar- 

>  Vide  infra,  p.  58. 

^  "Anno  incamati  verbi  mil  sexag  Villi  renovante  Odabrico  Remsis.  ecce.  pposito.  hoc 
altare  invenit  subt.  sarcofagu.  beate  Posinne  virginis  cu.  particula  corporis  eius  [quod  interiu]s 
fuerat  priscis  tepor[ibus.  depositum]  atamen  ut  inpvenit  ita  [in  eodem  loco]  recondidit."  —  Cit. 
Lefevre-Pontalis,  Arch.  Rel.  I,  180. 

15 


ROMANESQUE   MONUMENTS    OF   THE   ILE   DE   FRANCE 

thex  tower,  two  side  aisles  ending  in  absidioles,  and  a  semicircular  apse.  In  the 
XI  century  the  nave  was  entirely  roofed  in  timber;  but  in  1552  rib  vaults  —  which, 
however,  have  been  replaced  by  modern  imitations  —  were  erected  underneath  the 
tower  and  in  the  western  bay.  Colonnettes  are  engaged  on  all  four  faces  of  the  piers : 
those  facing  the  nave  are  continued  to  form  an  unmeaning  system;  those  at  the  ends 
of  the  piers  carry  the  second  order  of  the  archivolts;  those  facing  the  side  aisles  are 
continued  to  form  a  buttress  to  the  exterior  clearstory  wall  —  a  singular  disposition 
paralleled  in  the  Norman  church  of  Notre  Dame-sur-1 'Eau  of  Domfront.  The 
choir  is  barrel-vaulted;  its  windows  are  shafted.  With  the  exception  of  the  tower  of 
the  XVII  century,  the  construction  is  assigned  to  the  last  years  of  the  XI  century. 
(Lefevre-Pontalis,  Arch.  Rel.  I,  177.) 

ST.-LEGER-AUX-BOIS,  Oise.  Prieure.  A  royal  charter  of  1083  ceded  to 
the  abbey  of  Gerault  the  revenues,  the  right  of  justice,  and  the  usage  of  the  forest  of 
Laigue.  Five  monks  established  themselves  in  this  solitude,  and  built  the  present 
priory,  which  consequently  cannot  have  been  erected  before  1083,  although  the 
style  of  the  architecture  shows  that  the  construction  must  have  been  finished  before 
the  end  of  the  XI  century.  The  nave,  five  bays  long,  is  flanked  by  two  side  aisles; 
the  transepts  project;  the  church  terminates  to  the  eastward  in  three  semicircular 
apses,  each  preceded  by  a  short  rectangular  bay.  The  apses  are  covered  with  half- 
domes,  and  the  compartments  which  precede  them  are  barrel-vaulted;  the  other 
portions  of  the  church,  —  nave,  side  aisles,  transepts,  and  crossing,  —  are  entirely 
roofed  in  timber.  A  pilaster,  which  supports  nothing,  is  engaged  on  the  aisle  sides 
of  the  rectangular  piers.  The  crossing  is  characterized  by  four  great  arches  opening 
on  the  nave,  the  choir,  and  either  transept.  A  window  of  the  fa9ade  is  shafted,  and 
adorned  with  a  very  elementary  moulding;  the  windows  of  the  apse  are  also  similarly 
moulded.     (Lefevre-Pontalis,  Arch.  Rcl.  I,  226.) 

NOEL-ST.-MARTIN,  (near  Villeneuve-sur-Verberie),  Oise.  Eglise  consisted 
originally  of  a  single-aisled  nave  and  an  apse.  This  construction  dated  from  the 
last  half  of  the  XI  century.  About  the  middle  of  the  XII  century  each  of  the  nave 
walls  was  pierced  with  two  round  arches,  and  side  aisles  were  added.  These  side 
aisles,  however,  were  later  destroyed  and  the  arches  again  walled  up.  The  present 
crossing,  according  to  M.  Lefevre-Pontalis,  was  constructed  on  the  site  of  the  prim- 
itive apse  c.  1135;  \\  is  covered  with  an  abnormally  stilted  rib  vault  with  wall  ribs  — 
an  early  example  of  the  latter  feature.  The  north  transept,  also  rib-vaulted,  was 
erected  c.  1150,  but  the  existing  southern  transept  is  a  work  of  the  XVI  century.  A 
single  quadripartite  rib  vault  erected  on  a  square  plan  covers  the  rectangular  Choir, 
a  construction  contemporary  with  the  crossing.  The  wall  rib  of  this  vault  is  segmental, 
a  form  which,  as  the  other  arches  are  all  round,  results  in  unduly  doming  the  vault. 
The  fa9ade  is  a  work  of  the  last  half  of  the  XI  century,  and  the  towet,  which  rises  over 
the  southern  transept,  is  assigned  to  c.  1080.'     (Lefevre-Pontalis,  Arch.  Rel.  H,  71.) 

1  Mr.  Moore,  Gothic  Arch.,  p.  63,  gives  a  description  of  this  monument  differing  widely 
from  that  of  Lefevre-Pontalis.  After  referring  to  it  as  a  very  late  Romanesque  church  (i.e.,  earlier 
than  1130  ?),  he  goes  on  to  speak  of  the  choir  vault:  "The  arches  of  this  vault  are  all  round  ex- 
cept the  one  on  the  western  side  of  the  compartment,  which  appears  to  be  an  alteration  of  a  later 

16 


OTHER    MONUMENTS 

LE  TROUQUOY,  Somme.  Eglise  is  an  excellent  and  well  preserved  example 
of  the  type  of  rural  church  erected  in  Picardy  at  the  end  of  the  XI  century.  The  mon- 
ument consists  of  a  single-aisled  nave  two  bays  long,  and  a  rectangular  choir  also  of 
two  bays.  The  choir  is  covered  with  a  groin  vault,  constructed  as  the  penetration 
of  two  unequal  barrel  vaults.  Broad  and  salient  buttresses  reinforce  the  angles 
of  the  choir.  The  nave  is  covered  with  a  timber  roof  of  the  late  Gothic  period. 
(Enlart,  Arch.  Rom.,  166.) 

BERNEUII^SUR-AISNE,  Oise.  Eglise.  Though  assigned  to  the  X  century 
by  Woillez,  this  monument,  as  M.  Lefevre-Pontalis  has  pointed  out,  is  evidently  a 
work  of  the  last  half  of  the  XI  century.  The  edifice  consists  of  a  nave  three  bays 
long,  two  side  aisles,  transepts,  and  a  choir  of  the  XVI  century.  The  second  order 
of  the  unmoulded  archivolts  is  supported  on  engaged  columns.  (Lefevre-Pontalis, 
Arch.  Rel.  I,  174.) 

MAREUIL,  Somme.  Eglise.  Of  the  existing  structure,  the  nave,  the  fa9ade, 
and  a  fragment  of  the  choir  are  Romanesque;  but  the  greater  part  of  the  choir  was 
rebuilt  in  the  XV  century,  and  the  present  crossing,  which  was  originally  the  fifth  bay 
of  the  nave,  has  been  much  altered.  To  the  westward  the  nave  is  prolonged  beyond 
the  side  asles,  so  that  its  unbroken  walls  buttress  the  westernmost  of  the  great  arches. 
The  nave  has  a  wooden  roof;  the  main  arcades  are  in  two  orders  and  shafted.  The 
western  portal  is  adorned  with  chevrons,  arched  corbel-tables,  arched  billet  mould- 
ings, and  a  tympanum  sculptured  in  high  relief  —  features  which  indicate  the  style 
of  the  last  years  of  the  XII  century;  the  rest  of  the  fa9ade,  however,  appears  to  be 
somewhat  earlier,  and  is  assigned  by  M.  Enlart  to  the  second  quarter  of  the  same 
century.     (Enlart,  Areh.  Rom.,  140.) 

OULCHY-LE-CHATEAU,  Aisne.  Notre  Dame.  According  to  Carlier  this 
monument  was  erected  on  the  ruins  of  a  more  ancient  church  by  Thibauld  I  (f  1089) 
who  founded  the  chapter  of  Oulchy  about  1076.  However,  of  the  existing  edifice 
only  the  nave  and  the  tower  can  be  attributed  to  this  period,  for  the  transept  and 
choir  show  all  the  characteristics  of  the  style  of  the  last  half  of  the  XII  century.  It 
is  probable  that  the  generous  donations  (1169)  of  Henry,  Count  of  Champagne,  made 
it  possible  for  the  chapter  to  partially  reconstruct  the  church  at  this  time.  The  edi- 
fice to-day  consists  of  three  aisles,  very  salient  transepts,  a  rectangular  choir,  and  a 
tower  rising  at  the  end  of  the  south  side  aisle.  The  nave  is  roofed  in  wood;  it  is 
characterized  by  colonnettes  engaged  on  the  ends  of  the  piers  to  support  the  extra  order 
of  the  archivolts,  by  cubic  capitals,  by  bases  supplied  with  grifl^es,  and  by  a  clear- 
story rebuilt  in  the  XII  century.  In  the  southern  side  aisle,  the  ancient  barrel  vault 
still  exists  beneath  the  tower  in  the  bay  preceding  the  absidiole.  The  tower  con- 
sists of  three  stories  of  coupled  windows  in  two  orders,  surmounted  by  billet  mould- 
ings; it  is  supplied  with  angle  shafts  and  buttresses  of  a  single  ressaut.  The  exterior 
of  the  east  end,  broken  by  three  round-arched  windows  surmounted  by  a  quatrefoil, 
is  pleasing  and  unusual.     (Lefevre-Pontalis,  Arch.  Rel.  I,  211.) 

epoch  and  belongs  to  the  developed  Gothic  vault  which  covers  the  area  over  the  crossing  of  the 
nave  and  transept."  I  have  not  examined  this  building  on  the  spot,  and  am  somewhat  at  a  loss 
to  know  which  of  two  such  eminent  authorities  to  disbelieve. 

17 


ROMANESQUE   MONUMENTS   OF   THE   ILE   DE   FRANCE 

PRESLES,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  slightly  projecting 
transepts,  a  tower  rising  over  the  seuth  transept,  and  an  apse  originally  flanked  by 
two  absidioles.  Except  for  the  fa9ade  porch  —  an  addition  of  the  XIII  century  — - 
the  monument  is  a  homogeneous  structure  of  the  end  of  the  XI  century.  The  timber- 
roofed  nave  is  divided  into  four  bays  by  cruciform  piers  which  carry  plain  archivolts 
in  two  orders.  About  the  end  of  the  XII  century  the  existing  rib  vault  was  erected 
over  the  crossing;  the  choir,  however,  retains  the  XI  century  barrel  vault  terminating 
in  a  half-dome  over  the  apse.  This  apse  is  externally  ornamented  with  triangular 
arched  corbel-tables,  ribbon  mouldings,  etc.     (Broclie.) 

RETHEUIL,  Aisne.  St.  Aubin.  The  Romanesque  church,  which  terminated 
in  three  apses,  was  much  altered  in  the  XVI  century,  so  that  the  existing  edifice  con- 
sists of  a  nave,  two  side  aisles,  and  a  rectangular  choir.  The  nave,  which  is  three 
bays  long,  and  roofed  in  timber,  dates  almost  wholly  from  the  XVI  century,  but  the 
southern  side  aisle  has  preserved  in  the  bay  underneath  the  tower  traces  of  a  barrel 
vault  and  of  a  round-headed  window.  The  tower  itself  is  a  monument  of  the  last 
quarter  of  the  XI  century.     (Lefevre-Pontalis,  Arch.  Rel.  I,  219.) 

DEUIL,  (or  Deuil-sous-Montmorency),  Seine-et-Oise.  St.  Eugene  consists  of 
two  distinct  parts:  a  Romanesque  nave  of  the  XI  century,  and  a  Gothic  choir  of  the 
beginning  of  the  XIII  century.  The  nave  comprises  six  bays;  the  choir,  three;  the 
chevet  (which  is  surrounded  by  an  ambulatory  with  a  column  on  axis),  sLx.  A  sec- 
ond side  aisle  was  added  in  the  flamboyant  period.  Colonnettes  engaged  at  the 
ends  of  the  piers  carry  the  second  orders  of  the  archivolts ;  shafts  engaged  on  the  face 
of  the  piers  rise  towards  the  roof.  The  monument  has  badly  suffered  from  modem 
restorations.     (Lambin,  106.) 

MONTMILLE,  Oise.  St.  Maxien.  This  monument,  which  certainly  dates 
from  the  XI  century  (c.  1050),  consists  of  a  nave,  transepts,  and  a  square  east  end. 
The  side  aisles  which  originally  existed  have  been  destroyed;  the  piers  are  square, 
the  archivolts  of  a  single  order  unadorned.  The  groin  vaults  that  at  present  cover 
the  two  bays  of  the  choir  seem  to  be  later  (modern?')  additions  to  the  original  con- 
struction. The  rest  of  the  church  is  timber-roofed.  Much  of  the  sculpture  and 
ornament  of  the  facade  recalls  the  Basse  Oeuvre  of  Beauvais.     (Woillez,  M.  1.) 

MONTLEVON,  Aisne.  St.  Martin  consists  of  a  nave  four  bays  long,  two  side 
aisles  ending  in  absidioles,  a  lateral  tower,  transepts,  and  a  semicircular  apse.  The 
nave  and  the  side  aisles  were  originally  roofed  in  timber,  but  about  the  end  of  the  XVI 
century  the  existing  rib  vaults  were  erected.  The  archivolts  in  two  orders  fall  on  col- 
onnettes engaged  on  the  rectangular  piers.  Although  the  transepts  have  suffered 
heavily  from  restoration,  the  crossing  retains  its  original  barrel  vault.  The  Roman- 
esque portions  of  the  monument  may  be  assigned  to  the  end  of  the  XI  century. 

ST.  BAUDRY,  Aisne.  Eglise.  In  its  original  form  this  church  consisted  of  a 
single-aisled  nave  and  a  semicircular  apse;  but  c.  1150  a  northern  side  aisle  was  added, 
and  the  apse  replaced  by  a  square  choir,  while  in  the  XVI  century  the  plan  was  given 
an  irregular  appearance  by  the  addition  of  a  northern  chapel.     The  nave  is  separated 

1 1  know  this  monument  only  from  Woillez's  drawings,  from  which  it  is  impossible  to 
determine  this  point. 

18 


OTHER   MONUMENTS 

from  the  side  aisle  by  three  rectangular  piers  with  engaged  pilasters  supporting  the 
second  order  of  the  great  pointed  archivolts.  Both  nave  and  side  aisle  are  roofed  in 
timber.  The  polygonal  choir  is  covered  with  a  radiating  rib  vault  of  six  branches; 
the  ancient  glass  still  fills  the  flamboyant  tracery  of  the  windows.  Externally  the 
nave  is  lavishly  ornamented  with  billets  and  triangular  corbel-tables,  and  is,  perhaps, 
the  most  richly  ornamented  of  all  the  Romanesque  monuments  of  the  He  de  France. 
It  must  consequently  date  from  the  last  years  of  the  XI  century.  (Lefevre-Pontalis, 
Arch.  Rel.  I,  223.) 

JOUAIGNES,  Aisne.  St.  Pierre.  The  nave,  which  is  assigned  by  M.  Lefevre- 
Pontalis  to  the  end  of  the  XI  century,  was  originally  three  bays  long,  was  flanked 
by  two  side  aisles,  and  was  roofed  in  timber.  The  archivolts  were  in  two  orders, 
of  which  the  inner  was  carried  on  a  coloimette  engaged  in  the  piers.  These  disposi- 
tions are  preserved  intact  only  in  last  bay  of  the  north  side;  on  the  south  side  the  origi- 
nal side  aisle  was  destroyed  and  the  arches  walled  up,  although  the  aisle  has  been 
again  rebuilt  in  modern  times.  The  crossing  was  vaulted  c.  1130;  the  south  transept 
is  of  the  last  half  of  the  XII  century;  the  north  transept,  like  the  polygonal  choir 
(which  replaces  the  Romanesque  apse),  dates  only  from  the  XIII  century.  The  lower 
story  of  the  tower  is  assigned  to  c.  1130,  but  the  upper  story  is  Gothic  in  style. 
(Lefevre-Pontalis,  Arch.  Rel.  I,  185.) 

LA  CROIX,  Aisne.  Eglise  consists  at  present  of  a  nave,  a  single  side  aisle,  and 
a  square  choir;  but  in  the  XI  century  there  were  two  side  aisles  ending  in  absidioles 
and  a  semicircular  apse  preceded  by  a  transept.  In  the  XII  century  a  tower  was 
added  flanking  the  apse,  and  the  existing  choir  was  erected  in  the  early  Gothic  period. 
The  wooden-roofed  nave  is  three  bays  long;  its  round  arcades  of  two  orders  are  sup- 
ported on  piers.  These  piers  are  flat  on  the  side  of  the  nave,  except  that  in  the  pier 
between  the  second  and  third  bay  there  is  engaged  a  pilaster,  which  suggests  a  but- 
tress rather  than  a  system.  On  the  other  three  sides  are  engaged  colonnettes,  support- 
ing the  beams  of  the  aisle  roof,  or  the  second  order  of  the  archivolts.  This  nave  is 
assigned  by  M.  Lefe\Te-Pontalis  to  the  last  quarter  of  the  XI  century.  The  crossing, 
though  bounded  by  arches,  is  not  vaulted;  the  elegant  choir  of  the  XIII  century, 
however,  is  vaulted  throughout.  The  facade  is  modern;  the  central  tower  dates  from 
the  second  quarter  of  the  XII  century.     (Lefevre-Pontalis,  Arch.  Rel.  I,  182.) 

BITRY,  Oise.  Eglise  of  the  XI  centirry  was  altered  at  the  end  of  the  XII  cen- 
tury and  rebuilt  almost  entirely  in  the  late  flamboyant  period.  The  edifice  consists 
of  a  nave,  a  single  side  aisle  —  which  is  continued  to  flank  the  square  bay  of  the  choir, 
—  and  a  polygonal  apse.  The  nave,  three  bays  long,  is  a  work  of  the  XVI  century; 
the  multiple  ribs  of  the  vaults  and  the  archivolts  are  received  on  monocylindrical 
piers  without  capitals.  Also  of  the  XVI  century  is  the  vault  of  the  rectangular  por- 
tion of  the  choir,  but  beneath  the  central  tower  a  barrel  vault  of  the  XI  century,  but- 
tressed by  two  engaged  columns,  is  still  extant.  The  tower  and  spire  must  date  from 
the  XII  century.  Angle  turrets  were  projected  but  never  executed.  (Lefevre-Pon- 
talis, Arch.  Rel.  II,  125.) 

BREUIL-LE-VERT,  Oise.  Eglise  is  known  to  have  been  founded  c.  1100 
by  Hugh,  Count  of  Champagne,  for  the  charter  (1145)  of  his  son  confirming  this  gift 

19 


ROMANESQUE   MONUMENTS   OF   THE   ILE   DE   FRANCE 

is  yet  extant.  Since  this  confirmation  was  made  expressly  in  honor  of  the  consecra- 
tion of  the  church,  that  event  must"  have  taken  place  about  1145.  No  part  of  the 
existing  edifice,  however,  can  be  assigned  to  this  date,  and  it  is  necessary  to  suppose 
that  all  the  portions  erected  c.  1145  were  later  rebuilt.  The  north  arcade  seems  to 
be  the  oldest  part  of  the  present  structure;  the  archivolts  in  two  orders,  the  cruciform 
piers,  the  crude  capitals,  indicate  the  style  of  the  third  quarter  of  the  XI  century.  The 
remainder  of  the  edifice  must  be  at  least  a  hundred  years  later,  for  the  windows  are 
all  pointed,  and,  while  there  is  no  true  tracery,  several  of  the  lancets  are  grouped 
together  under  a  single  relieving  arch.  A  fine  central  tower  lends  distinction  to  the 
exterior  of  this  interesting  church.     (Woillez;  Johnson.) 

BRESLES,  Oise.  Eglise.  This  single-aisled  country  church  dating  perhaps 
from  the  middle  of  the  XI  century,  is  roofed  in  timber.  The  archivolts  have  square 
profiles,  and  there  is  very  little  ornament  of  any  kind,  except  for  the  Greek  cross  in  the 
gable,  which  recalls  the  Basse  Oeuvre  of  Beauvais.  The  most  interesting  part  of 
the  monument  is  the  central  tower  of  c.  1110,  which  consists  of  two  stories  of  blind 
arcades  and  grouped  windows  —  the  tympanums  of  the  latter  pierced  with  bull's 
eyes.     (Woillez.) 

ST.-THIBAUD-DE-BAZOCHES,  Aisne.  Prieure.  A  charter,  which  must 
be  earlier  than  1080,  mentions  that  this  priory  had  been  built  a  few  years  previously; 
it  is  evident  from  the  style,  however,  that  the  existing  edifice  can  not  be  earlier  than 
c.  1075.  This  most  important  monument  was  unfortunately  in  large  part  destroyed 
in  1842;  there  survive  only  three  piers  of  the  nave  and  a  part  of  the  transept,  but  the 
foundations  have  been  excavated,  so  that  the  original  dispositions  can  be  made  out. 
The  church  consisted  of  a  nave,  six  bays  long,  ending  to  the  westward  in  an  exterior 
narthex-tower;  of  two  side  aisles;  of  transepts  deeply  projecting;  and  of  three  semi- 
circular eastern  apses.  The  apses  were  covered  with  half -domes;  the  transepts  and 
nave  were  roofed  in  timber;  and  the  narthex  and  side  aisles  were,  in  all  probability, 
groin-vaulted  with  transverse  ribs,  although  the  remains  are  not  sufiicient  to  make 
this  absolutely  certain.  Four  colonnettes  were  engaged  on  each  pier:  the  two  on  the 
ends  doubtless  served  to  support  the  second  orders  of  the  archivolts,  the  one  towards 
the  aisle  probably  supported  the  transverse  arch  of  the  groin  vault,  and  that  facing 
the  nave  was  continued  to  the  roof  as  a  system,  although  the  nave  was  not  vaulted. 
(Lefevre-Pontahs,  Arch.  Rel.  I,  228.) 

FILAIN,  Aisne.  Stc.  Bcrthe.  This  chapel,  on  the  strength  of  its  crude  capitals 
and  triangular  decoration,  has  often  been  assigned  to  the  Carolingian  era.  M.  Le- 
fevre-Pontalis,  however,  has  shown  that  it  must  belong  to  the  XI  century,  though 
not  improbably  to  the  first  half.  The  edifice  consists  of  a  rectangular  nave  and  a 
rectangular  choir,  the  latter  divided  into  two  transverse  sections  by  an  arcade  of  three 
arches. 

ST.-REMI-L'ABBAYE,  Oise.  Ahhaye.  The  primitive  structure  consisted 
of  a  wooden-roofed  nave,  two  side  aisles,  transepts,  and  a  semicircular  apse;  but 
only  the  nave,  the  fa9ade,  and  the  side  aisles  remain,  and  the  latter  have  been  com- 
pletely rebuilt.  The  piers  are  square,  the  archivolts  of  single  order;  the  whole  in- 
terior, indeed,  in  its  dearth  of  ornament  recalls  the  Basse  Oeuvre  of  Beauvais.     The 

20 


OTHER    MONUMENTS 

exterior  is  characterized  by  arched  string-courses  and  reticulated  pattern  work  in 
the  tympanums.  This  monument  may  be  assigned  to  the  first  half  of  the  XI  century. 
(Woillez,  S.  27.) 

SOISSONS,  Aisne.  St.  Medard.  The  crjpi,  which  is  well  preserved,  is  assigned 
to  the  XI  century.     (Lefevre-Pontalis,  Arch.  Rel.  I,  169.) 

St.  Leger.  The  choir  is  said  to  resemble  closely  the  middle  chapel  of  Braisne.' 
The  crypt,  though  assigned  by  Fleury  to  the  VIII  century,  in  reality  dates  from  1090- 
1100,  as  M.  Lefevre-Pontalis  has  pointed  out.  The  church  itself  was  entirely  recon- 
structed in  the  XIII  century. 

BALAGNY-SUR-THERAIN,  Oise.  Eglise.  The  ornament  consisting  of 
chevrons  and  billet  mouldings,  and  the  construction  in  herring-bone  masonry  indicate 
that  this  single-aisled  church  must  date  from  the  end  of  the  XI  century.     (Woillez.) 

TILLE,  Oise.  Eglise,  which  may  be  ascribed  with  confidence  to  the  first  half 
of  the  XI  century,  consists  of  three  aisles  separated  by  square  piers.  The  walls  are 
constructed  of  rubble;  the  roof  is  in  timber.  A  Greek  cross  in  the  gable  recalls  the 
Basse  Oeuvre  of  Beauvais.     (Woillez,  Appendix.) 

CHIVRY-LES-ETOUVELLES,  Aisne.  Eglise.  Of  the  structure  of  the  XI 
century,  only  two  semicircular  absidioles  remain,  the  rest  of  the  edifice  having  been 
entirely  rebuilt.  The  present  square  choir  is  of  the  XVI  century;  the  tower  is  Gothic; 
and  the  portal,  Renaissance. 

PLESSIS-LE-CHARMANT,  Oise.  Eglise  consists  of  a  single-aisled  nave 
and  a  rectangular  choir.  The  tower  and  choir  are  Romanesque,  but  the  spire  with 
its  turrets  and  dormers  is  a  work  of  the  XII  century. 

ANGIVILLERS,  Oise.  Eglise.  The  inadequate  publication  by  Woillez  indi- 
cates that  the  church  was  supplied  with  a  single-aisled  nave  and  transepts,  ornamented 
externally  with  arched  string-courses.     (Woillez,  Appendix.) 

SARRON,  Oise.  Eglise,  which  may  be  assigned  to  the  first  half  of  the  XI  cen- 
tury, consists  of  a  nave,  two  side  aisles,  and  an  apse  masked  externally.  The  piers 
are  square,  the  roof  is  in  wood.  The  exterior  is  adorned  with  arched  string-courses. 
(Woillez,  Appendix.) 

CRAMOISY,  Oise.  St.  Martin.  The  tower  is  a  charming  design  of  the  end 
of  the  XI  century  with  two  stories  of  coupled  arches  and  a  cornice  composed  of  a  flat 
corbel-table. 

ACHY,  Oise.  Eglise  of  small  dimensions  has  been  only  inadequately  published. 
One  of  the  windows  is  surmounted  by  an  arcuated  lintel.     (Woillez,  Appendix.) 

ORVILLE,  Somme.  Eglise,  notwithstanding  many  reconstructions,  contains 
some  fragments  of  XI  century  architecture.     (Bourlon.) 

ULLY-ST.-GEORGES,  Oise.  Eglise  is  said  to  date  from  the  XI,  XIII,  and 
XVI  centuries.     (Woillez.) 

RUE-ST-PIERRE,  Oise.  Sglise  may  be  assigned  to  the  first  half  of  the  XI 
century.  The  fa9ade  is  surmounted  by  a  little  belfry;  the  central  doorway  is  plain, 
except  that  the  voussoirs  are  carved  with  a  Carolingian  triangular  motive.  (Woillez, 
Appendix.) 

'  Von  Bezold. 
21 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

ROCHY-CONDE,  Oise.  Chapelle  St.  Arnoult  is  said  to  date  from  the  XI 
century. 

ESTREES-ST-DENIS,  Oise.  Eglise.  The  single-aisled  nave  is  preceded 
by  a  facade  surmounted  by  a  belfry.     (Woillez,  Appendi.x.) 

LUCHY,  Oise.     Eglise  has  been  only  inadequately  published.     (Woillez.) 

MONUMENTS  OF  THE  XI  AND  XII  CENTURIES  OF 
DISTRICTS  BORDERING  ON  THE  ILE  DE 

FRANCE 

Monuments  of  the  First  Class 

VEZELAY,  Yonne.  Ahhaye  la  Madeleine.  This  Benedictine  abbey,  one  of 
the  largest  in  France,  fell  under  the  influence  of  the  Cluniac  reform  in  the  XI  century. 
The  church  erected  at  the  time  of  the  foundation  in  846 '  was  destroyed  by  fire  in 
1120,  when  1,127  men  and  women  are  said  to  have  perished  in  the  flames."  The 
existing  edifice  was  probably  commenced  soon  after  this  catastrophe,  for  the  western 
portions  are  in  the  style  of  the  last  half  of  the  XII  century,  and  the  Gothic  choir  of 
1198-1201  doubtless  replaces  an  older  Romanesque  structure.  This  venerable  abbey, 
which  is  thoroughly  Cluniac  and  Burgundian  in  style,  consists  of  a  choir  of  five 
aisles;  a  peatagonal  chevet;  an  ambulatory;  transepts;  a  nave,  entirely  groin-vaulted 
except  the  last  four  bays  which  are  rib-vaulted;  and  a  narthex  three  bays  long 
groin-vaulted  except  for  the  last  bay,  the  lower  of  whose  stories  is  barrel- vaulted,  the 
upper,  rib-vaulted.  The  masonry  laid  in  bands  alternately  light  and  dark  recalls 
the  school  of  Auvergne  as  do  several  details  of  ornamentation.  There  were  originally 
four  towers.  The  main  arcades  of  the  narthex  have  pointed  arches  —  a  fact  which 
misled  VioUet-le-Duc  into  the  error  of  considering  this  an  important  monument  of 
the  transitional  movement.  The  interest  of  Yezelay  centers  in  the  portals,  whose 
sculptures  are  among  the  finest  productions  of  the  Burgundian  school.  (Arch,  de  la 
Com.  des  Mon.  Hist.  II,  11;  Von  Bezold.) 

Monuments  of  the  Second  Cl.^s 

ST.-BENOlT-SUR-LOIRE,  Loiret.  Abhaye.  The  narthex  of  this  important 
monument  is  usually  assigned  to  the  year  1022  on  the  strength  of  a  text  which  I  have 
not  been  able  to  find;  there  is  need,  however,  of  but  a  superficial  examination  of  the 
architecture  to  realize  that  the  construction  can  not  possibly  be  as  early  as  this.  M. 
Marignan,  however,  goes  too  far  in  assigning  this  portion  of  the  building  to  a  date  as 
late  as  1160-80;  it  may  well  have  been  erected  in  the  first  quarter  of  the  XII  cen- 
tury. Fortunately  the  chronology  of  the  remainder  of  the  church  is  less  obscure, 
and  the  approximate  date  of  the  choir  —  obviously,  the  oldest  part  of  the  existing 
church  —  is  established  by  documentary  evidence:  "Since  the  church  of  the  blessed 

>  Hugo  Pictavinus  notarius,  Hisioria  Vizeliacensis,  nion.  I,  cit.  Schlosser,  283;  Karl  II, 
Urk.  fur  Vezelay,  868,  ian.  7,  B.  R.  1746. 

"Besly,  Histoire  des  Cmntes  de  Poitou,  p.  451  [lege  551],  cit.  Inkersley. 


MONUMENTS   OF   THE   SECOND   CLASS 

Virgin  Mary,  Mother  of  God,  in  which  rests  the  body  of  the  holy  father  Benedict,  had 
fallen  into  ruin,  partly  by  age,  partly  by  fire,  it  seemed  good  to  Abbot  WilUam  (with 
the  consent  of  Odilo,  an  upright  man  and  prior  of  the  same  church)  to  demolish  the 
old  building  and  erect  instead  a  new"' —  "[Abbot  William]  commenced  to  build,  and 
laid  anew  the  foundations  of  that  church  over  which  he  ruled  and  which  had  been 
devastated  by  many  fires  and  ruined  by  old  age,  but  he  died  before  being  able  to  fin- 
ish it."^  Now,  since  William  was  abbot  from  1070-80,  it  must  have  been  during 
this  period  that  the  reconstruction  of  the  choir  was  begun.  According  to  Rocher,^ 
the  construction  was  finished  only  in  1103.  In  the  meanwhile  (1095),  the  monastery 
had  been  ravaged  by  a  new  fire.''  This  fire  very  probably  rendered  necessary  the 
reconstruction  of  the  nave,  whose  architecture  shows  all  the  characteristics  of  the 
style  of  the  early  years  of  the  XII  century.  The  design  of  the  nave  difl^ers  widely 
from  that  of  the  choir  in  that  cruciform  piers  with  system  are  substituted  for  columns 

—  a  lack  of  unity  which,  however,  could  be  paralleled  in  many  homogeneous  churches 
of  Berry  or  Burgundy.  Probably  soon  after  1103,  or  at  least  sometime  in  the  first 
half  of  the  XII  century,  the  narthex,  which  had  stood  isolated  before  the  church, 
was  rebuilt.  Finally,  in  1218,  the  western  bays  of  the  nave  were  again  made  over, 
and  the  whole  edifice  restored  in  the  Gothic  style.  As  the  monument  stands  to-day, 
the  choir  with  its  ambulatory  and  four  radiating  chapels  may  be  taken  as  an  authen- 
tically dated  structure  of  c.  1070-1103.^  The  central  aisle  is  barrel-vaulted,  but  the 
side  aisles  are  covered  with  groin  vaults  with  transverse  ribs;  there  is  a  continuous 
triforium,  no  system,  and  a  clearstory  with  shafted  windows.  The  main  archivolts 
are  in  two  orders,  unmoulded,  and  certain  bases  are  supplied  with  grilles.  Two 
absidioles  project  to  the  eastward  on  each  arm  of  the  salient  transepts  which  are 
covered  with  pointed  barrel  vaults  added  apres  coup  about  the  end  of  the  XII  century. 
The  nave,  although  remade  in  the  Gothic  period,  retains  Romanesque  groin  vaults 
in  the  side  aisles;  the  north  lateral  porch  of  the  XIII  century  is  notable  for  its  fine 
sculpture.  The  narthex  in  two  stories,  entirely  vaulted  with  groin  vaults  resting  on 
round  transverse  arches,  is  divided  into  nine  equal  squares  by  three  aisles,  of  equal 
height,  each  three  bays  long.  The  piers  have  engaged  on  each  face  a  haU  column 
with  richly  carved  Corinthianesque  and  figured  capitals.     (Rocher;  Marignan.) 

AVALLON,  Yonne.  St.  Ladre.  The  present  edifice  of  three  aisles  appears 
to  have  been  commenced  only  in  the  last  half  of  the  XII  century,  for  the  fa9ade  — 
evidently  the  oldest  part  of  the  structure  —  is  a  fine  example  of  rich  Burgundian 
ornamentation.     The  remarkable  portals   in  five   orders  with   twisted  and   chained 

1  Basilica  semper  virginis  Mariae  Dei  genetricis  in  qua  beatus  pater  Benedictus  corpore 
quiescit  partim  vetustate,  partim  incendio  demolita,  visum  est  abbati  Guillelmo,  adnitente 
Odilone,  viro  probo,  ejusdem  basilicae  aedituo,  vetus  demolire  et  novum  opus  pro  vetere 
instaurare.  —  Miracida  Sandi  Benedicti,  lib.  VIII,  Chap.  25,  ed.  Cestau,  p.  317. 

-  [Guillelmus]  ipsam  quam  regebat  ecclesiam  multis  incendiis  devastatam  et  senio  pre- 
gravatam  novo  jecto  edificare  cepit  fundamento,  sed  mortus  praereptus  consummare  non  potuit. 

—  Liber  Modemorum  Regum,  Migne,  Pat.  Lat.  LVIII,  col.  1903. 

3  p.  493. 

*Ibid. 

^  M.  Marignan  assigns  it  to  c.  1150. 

23 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

colonnettes  show  no  trace  of  the  influence  of  the  He  de  France.  Except  for  the 
northwest  tower  of  the  XVI  centu]?}',  the  remainder  of  the  church  is  a  homogeneous 
construction  of  c.  1200  with  pointed  arches  throughout  except  in  the  windows. 
The  vaults  have  no  diagonal  ribs,  but  the  system  is  logical  and  continuous.  The 
apse  is  covered  with  a  half -dome.     (Nodier  and  Taylor.) 

St.  Martin,  an  ancient  priory,  has  been  long  abandoned.  The  plan  is  in  the 
form  of  a  Greek  cross.  Some  portions  are  said  to  be  Romanesque  in  style,  but  the 
vaults  and  several  of  the  windows  are  clearly  Gothic.     (Nodier  and  Taylor.) 

LA  CELLE,  Cher.  Eglhe  is  the  finest  example  of  the  architecture  of  the  XI 
century  in  the  departement  of  Cher.  The  edifice  consists  of  a  nave  without  clear- 
story, two  side-aisles,  transepts  with  eastern  absidioles,  a  rectangular  choir,  and  three 
apses  of  which  the  central  one  is  polygonal  externally.  Except  for  the  half-domes 
of  the  apses  and  the  cloistered  dome  on  squinches,  which  covers  the  crossing,  the 
church  is  entirely  covered  with  round  barrel  vaults.  The  vaults  of  the  nave  have 
had  to  be  reinforced  by  the  addition  of  later  buttresses.  E.xtemally,  the  monument 
is  remarkable  chiefly  for  the  central  apse,  on  each  angle  of  which  is  engaged  a  column 
supporting  a  blind  arch.     (De  Kersers  VI,  112.) 

MoNtTVIENTS    or   THE   ThIRD    ClASS 

CHATEAU-MEILLANT,  Cher.  St.  Genes.  The  present  edifice  which,  with 
the  exception  of  certain  portions  made  over  in  the  Gothic  period,  dates  from  the  end 
of  the  XI  or  early  XII  century,  consists  of  a  nave  now  roofed  in  timber  but  originally 
covered  with  a  pointed  barrel  vault  reinforced  bj'  transverse  arches  resting  on  a  con- 
tinuous system;  of  two  side  aisles  formerly  nearly  as  high  as  the  nave  and  covered 
with  half  barrel  vaults,  which  buttressed  the  nave  vaults  and  thus  necessitated  the 
omission  of  the  clearstory;  of  transepts;  of  a  choir;  of  a  central  tower:  and  of  no 
less  than  seven  apses  and  absidioles.  The  construction  seems  to  have  progressed 
from  east  to  west,  the  nave  showing  architectural  forms  evidently  slightly  later  in 
date  than  those  of  the  choir.  There  are  no  external  buttresses.  (De  Kersers  III, 
213;  Deshoulieres.) 

Le  Chapitre  or  Notre  Dame.  This  edifice  of  the  XI  century  consists  of  a  large 
nave,  transepts,  a  central  tower,  five  apses,  and  two  chapels  added  in  the  XVI  cen- 
tury, which  gravely  disfigure  the  original  plan.  The  great  apse  is  decorated  exter- 
nally with  a  cornice  composed  of  blind  arches  separated  alternately  by  colonnettes 
and  square  pilasters  covered  with  an  interlacing  pattern. 

DUN-LE-ROI,  Cher.  St.  Etienne,  which  differs  widely  from  most  of  the 
Romanesque  monuments  of  Berry,  consists  of  a  nave  six  bays  long,  two  side  aisles, 
a  semicircular  apse,  an  ambulatory,  and  three  apsidal  chapels.  The  eastern  part  of 
the  building  must  date  from  the  XII  century,  but  the  western  bays  are  Gothic,  while 
the  vaults,  save  those  of  the  choir,  are  constructions  of  the  XIV  century,  and  the  chapels 
and  western  tower-porch  were  added  in  the  flamboyant  period.  The  system  is 
continuous;  there  is  no  clearstory.  Externally  the  apse,  with  its  grouped  shaft  but- 
tresses, flat  corbel-tables,  and  shafted  windows  in  two  orders,  is  thoroughly  Roman- 
esque in  character.     (De  Kersers  IV,  95.) 


MONUMENTS   OF   THE   THIRD   CLASS 

BRUfiRES,  Cher.  Ahhaye  de  Noirlac  consists  of  a  nave,  two  side  aisles, 
transepts,  a  rectangular  choir,  and  two  square  chapels  projecting  to  the  eastward 
of  the  transepts,  —  a  disposition  which  at  once  betrays  the  Cistercian  origin  of  the 
abbey.  The  choir,  which  is  the  oldest  part  of  the  structure  and  dates  from  about  the 
middle  of  the  XII  century,  is  covered  with  a  pointed  barrel  vault;  the  transepts  are 
supplied  with  rib  vaults  of  c.  1200;  the  side  aisles  are  groin-vaulted;  and  the  nave  has 
a  Gothic  rib  vault,  although  there  are  no  flying  buttresses.  The  piers  are  square, 
the  archivolts  unrelieved;  the  system  rests  on  corbels  placed  just  below  the  impost 
level.     (De  Kersers  VI,  102.) 

PLEINPIED,  Cher.  Ahhaye.  This  church,  one  of  the  most  elegant  medieval 
structures  of  the  neighborhood  of  Bourges,  was  commenced  probably  soon  after  1080, 
the  year  of  the  foundation  of  the  abbey.  At  all  events  the  choir  must  have  been  fin- 
ished in  1092,  since  Archbishop  Richard  II  was  here  buried  at  that  date.  The  church 
is  cruciform  with  a  central  tower,  and  its  three  aisles  terminate  in  three  apses.  There 
are  no  transeptal  absidioles.  The  choir  is  notable  for  its  slightly  pointed  barrel 
vaults  raised  over  a  clearstory;  the  choir  aisles  are  covered  with  combination  barrel 
and  groin  vaults;  the  transepts  are  also  barrel-vaulted,  except  for  the  cupola  under 
the  central  tower;  but  the  nave  vaults  have  been  destroyed.  Externally,  the  deco- 
ration consists  of  arcades,  flat  corbel-tables,  arched  string-courses,  salient  buttresses, 
and  shafted  windows.     (De  Kersers  V,  75.) 

Eglise  de  Givaudins.  The  single-aisled  nave,  which  is  assigned  to  the  XI  cen- 
tury, is  notable  for  the  portal  in  two  unornamented  orders.  The  choir  dates  from 
the  XVI  century. 

AIX-D'ANGILLON,  Cher.  St.  Ythier,  a  monument  of  the  early  XII  century 
which  is  said  to  show  Cluniac  influence,  consists  of  a  single-aisled  nave,  transepts 
with  absidioles,  a  choir  flanked  by  two  side  aisles  covered  with  semicircular  barrel 
vaults,  a  central  tower,  and  three  apses.  The  arches  of  the  arcades  are  pointed;  the 
piers  are  cylindrical;  there  is  no  system.  The  archivolts  of  the  continuous  triforium 
are  moulded.  Externally,  the  apse  is  ornamented  with  shafts  and  engaged  arcades. 
(De  Kersers  I,  6.) 

BAR-SUR-AUBE,  Aube.  St.  Pierre  consists  of  a  nave  six  bays  long,  two  side 
aisles,  transepts,  a  chevet,  an  ambulatory,  and  radiating  chapels.  The  church,  which 
is  rib-vaulted  throughout,  is  almost  entirely  Gothic  in  structure,  although  the  round 
arch  persists  in  the  triforium.  Each  bay  of  the  clearstory  is  pierced  by  a  single  lancet 
very  narrow  for  the  available  space;  above,  the  longitudinal  vault  rib  is  slightly  stilted. 
Although  the  vaults  are  quadripartite,  the  system  is  alternate.  In  the  intermediate 
piers  three  colonnettes  carry  the  archivolts  of  the  main  arcade  and  a  single  shaft  sup- 
porting the  system  of  three  members  on  which  rest  in  turn  the  five  vaulting  ribs.  The 
capitals  show  all  the  characteristics  of  the  style  of  the  last  years  of  the  XII  century. 
(Arnaud,  200.) 

St.  Maclou.  The  nave,  the  side  aisles,  the  transepts,  the  first  bay  of  the  choir, 
and  the  first  bays  of  the  chapels  which  flank  it,  belong  to  the  last  half  of  the  XII  cen- 
tury; the  remainder  of  the  choir,  with  its  polygonal  apse,  is  a  work  of  the  XIV  cen- 
tury, while  the  portal  is  modern.     The  nave  is  only  three  bays  long,  but  is  entirely 

25 


ROIVIANESQUE   MONUMENTS   OF   CHER,   ETC. 

vaulted;  its  capitals  show  all  the  characteristics  of  the  style  of  the  third  quarter  of 
the  XII  century.     (Arnaud,  201.) 

CHEZAL-BENOlT,  Cher.  Ahhaye.  The  nave  of  this  church  survives  in  a 
ruined  condition  together  with  certain  portions  of  the  foundations  of  the  choir.  This 
nave  was  seven  bays  long,  and  vaulted  with  a  pointed  barrel  vault  whose  transverse 
arches  rest  on  columns  engaged  in  the  piers.  Since  the  side  aisles  were  covered  with 
vaults  intended  to  buttress  those  of  the  nave,  there  could  have  been  no  clearstory. 
The  fa9ade  is  characterized  by  a  mixture  of  round  and  pointed  arches  and  a  rich 
portal  in  many  orders.  It  is  known  that  this  church  was  consecrated  in  1104,  but 
only  the  two  eastern  and  two  western  bays  of  the  nave  can  date  from  this  epoch, 
the  remainder  of  the  edifice  having  evidently  been  rebuilt  at  a  later  period.  (De 
Kersers  V,  148.) 

Other  Monuments 

STE.  GEMIVIE,  Cher.  Eglise.  Of  the  ancient  edifice  only  the  nave  and  side 
aisles  survive,  the  choir  having  been  recently  rebuilt.  The  nave  is  rib-vaulted;  the 
side  aisles  are  covered  with  pointed  barrel  vaults  whose  axis  is  perpendicular  to  that 
of  the  church.  The  piers  are  cruciform  in  plan  with  engaged  half  columns,  which 
rise  to  support  the  vault  ribs.  There  is  no  clearstory,  for  the  great  longitudinal  arch 
opening  into  the  aisle  vault  occugies  all  the  space  beneath  the  longitudinal  rib,  — 
that  is,  the  crowns  of  the  barrel  vaults  of  the  aisles  and  of  the  rib  vaults  of  the  nave 
are  at  about  the  same  level.  As  the  monument  is  evidently  in  the  main  a  construc- 
tion of  the  end  of  the  XII  century  —  notwithstanding  several  inscriptions  which 
refer  to  repairs  executed  at  later  epochs  —  these  peculiar  dispositions  are  of  great 
interest.     (De  Kersers  V,  30.) 

INIEHUN,  Cher.  Notre  Dame,  in  spite  of  mutilations,  is  still  of  great  interest. 
The  choir,  of  horseshoe  plan,  is  vaulted  with  a  haU-dome  raised  over  a  clearstory, 
and  is  surrounded  by  an  ambulatory  with  which  it  communicates  by  seven  arcades 
composed  of  high  semicircular  arches  resting  on  rectangular  piers.  The  ambulatory 
itself  is  covered  with  a  barrel  vault  broken  by  very  irregular  penetrations.  Three 
radiating  chapels  open  to  the  eastward.  The  single-aisled  nave  is  as  broad  as  all 
three  aisles  of  the  choir,  and  is  covered  with  a  pointed  barrel  vault.  This  nave 
must  date  from  late  in  the  XII  century;  the  choir  is  perhaps  somewhat  earlier.  (De 
Kersers  Y,  295.) 

BOURGES,  Cher.  St.  Jean-le-Vietix.  Certain  portions  of  this  cruciform  church 
date  probabh'  from  1164,  although  the  edifice  was  practically  rebuilt  in  the  X^TI 
century.  The  choir  and  the  chapels  which  flank  it  are  covered  with  barrel  vaults, 
pointed  like  all  the  great  arches;  the  rib  vaults  of  the  transepts  hav«  been  destroyed, 
but  sufficient  traces  for  a  restoration  remain.     (De  Kersers  II,  215.) 

Prieure  St.  Paul.  Some  fragments  of  the  church,  which  was  ruined  by  the  Hugue- 
nots in  1562  and  repaired  by  Philippe  Labbe  in  1615,  stUl  survive  in  the  court  of  the 
barracks  below  Seran court.  The  monument,  which  doubtless  was  erected  in  the  XII 
century,  consisted  of  a  rectangular  nave  and  a  semicircular  apse.  (De  Kersers  II, 
263.) 

26 


OTHER    MONUMENTS 

St.  Martin-des-Champs  is  a  rectangular  building  of  the  XI  century  roofed  in 
wood.     (De  Kersers  II,  262.) 

St.  Prive  appears  to  date  from  the  XII  century.  Only  the  timber-roofed  nave 
survives.     (De  Kersers  II,  222.) 

FRESNAY-SUR-SARTHE,  Sarthe.  Notre  Dame.  The  primitive  edifice 
consisted  of  a  single-aisled  nave  three  bays  long  and  rib-vaulted,  of  a  central  tower, 
and  of  a  semicircular  apse;  but  in  1865  transepts  were  added.  The  bases  are  char- 
acterized by  the  use  of  grilles;  the  fine  Romanesque  portal  in  three  orders  is  deco- 
rated with  drip-mouldings,  stars,  chipped  chevrons,  etc.  This  monument,  a  most 
interesting  example  of  the  transition  in  Maine,  shows  unmistakable  influence  from 
the  Plantagenet  school  of  Anjou,  and  is  assigned  by  M.  Lefevre-Pontalis  to  the  third 
quarter  of  the  XII  century. 

ST.-CHRISTOPHE-DU-JAMBET,  Sarthe.  Notre  Dame  consists  of  a 
single-aisled  nave,  three  bays  long;  a  single  transept,  evidently  later  than  the  rest  of 
the  church;  a  central  tower;  and  a  semicircular  apse.  The  main  portal  is  in  three 
orders.  The  vaults,  which  are  pointed  and  supported  by  a  continuous  system,  are 
the  only  portion  of  this  structure  which  would  lead  us  to  suspect  that  the  church  was 
erected  at  so  late  a  date  as  that  indicated  by  the  inscription  —  apparently  authentic 
—  painted  upon  the  western  vault:  "In  the  year  of  the  incarnation  of  our  Lord,  1231, 
in  the  time  of  Jean  Franfois,  cure  of  this  parish."^     (Le  Guicheux;  Hucher.) 

CUFFY,  Cher.  Eglise  of  the  XII  century  is  cruciform  in  plan.  The  apse  pre- 
sents a  most  unusual  design,  being  ornamented  with  high  and  narrow  arcades,  some 
semicircular  and  others  trilobed.  Other  remarkable  features  of  the  exterior  design 
are  the  central  tower  and  the  finely  sculptured  western  portal  consisting  of  three 
orders  of  round  arches  resting  on  shafts.  Internally,  the  church  is  covered  with 
pointed  barrel  vaults.     (De  Kersers  IV,  236.) 

MENETOU-COUTURE,  Cher.  Ahhaye  de  Fontmorigny.  The  most  ancient 
portions  of  this  much  mutilated  abbey  date  from  the  last  half  of  the  XII  century, 
and  furnish  a  typical  example  of  Cistercian  architecture.  The  choir,  the  crossing, 
the  two  arms  of  the  transept,  each  of  the  two  surviving  bays  of  the  nave,  are  so  many 
squares,  while  four  chapels,  also  square,  open  off  the  transept  to  the  eastward.  Choir 
and  the  transept  are  both  rib-vaulted,  but  the  nave  is  covered  with  a  groin  vault. 
(De  Kersers  VI,  35.) 

Eglise  contains  fragments  of  architecture  of  many  different  epochs:  the  walls  of  the 
nave  (which  never  had  a  vault)  must  date  from  the  XI  century;  the  lower  part  of 
the  five-sided  apse  is  Gothic;  the  upper  portions  are  flamboyant;  and  the  vault 
of  most  degraded  style  is  a  work  of  the  Renaissance. 

BAZOUGES-SUR-LOIRE,  Sarthe.  St.  Auhin.  The  primitive  edifice  was 
replaced  in  the  XII  century  by  a  larger  one,  of  which  the  tower,  the  transepts  with 
their  absidioles,  the  apse,  and  the  portal  still  survive,  although  the  nave  was  rebuilt 
in  the  XV  century.  The  rich  west  portal  is  of  great  interest,  as  is  the  central  tower, 
notwithstanding  the  fact  that  its  spire  has  perished.     A  most  interesting  timber  roof 

1  Anno  ab  incamatione  domini  M  II  C  tricesimo  I  tempore  Jacobi  Franci  Persone  huius 
ecclesie. 

27 


ROIHANESQUE   MONUMENTS    OF   CHER,   ETC. 

of  the  XV  century,  which  still  retains  the  original  painted  decoration,  covers  the 
nave.     (De  la  BouiUerie.) 

BENGY,  Cher.  Eglise  of  the  early  XII  century  is  a  fine  example  of  the  Cluniac 
church  of  small  dimensions,  and  consists  of  a  single-aisled  nave,  a  central  tower,  an 
eastern  apse,  and  absidioles.  All  the  great  arches  and  the  barrel  vaults  are  pointed, 
but  the  nave  vaults  and  the  system  on  which  they  rest  are  modern.  The  apse  is 
adorned  externally  with  a  flat  corbel-table  and  with  buttress  shafts.  (De  Kersers 
I,  207.) 

BLET,  (Canton  of  Neroude),  Cher.  Eglise,  notwithstanding  disastrous  res- 
torations, still  retains  its  original  dispositions,  and  is  of  great  interest  for  its  sculptures. 
The  monument  consists  of  a  single-aisled  nave,  a  central  tower,  a  choir  with  side  aisles 
and  three  apses.  The  transepts,  which  formerly  existed,  have  disappeared.  All 
the  eastern  portions,  covered  wuth  round  barrel  vaults,  date  from  the  XI  century 
(1060-80);  the  nave,  whose  barrel  vault  is  pointed,  seems  to  be  of  about  haU  a 
century  later.  The  interior  is  characterized  by  transverse  arches,  a  system  usually 
continuous,  a  triforium,  and  the  absence  of  a  clearstory.  The  archivolts  are  of  a 
single  order,  the  windows  shafted.  Externally  the  apse  is  decorated  with  buttress 
shafts,  flat  corbel-tables,  arcades,  arched  string-courses,  and  windows  in  two  orders. 
(De  Kersers  VI,  4.) 

ST.-AOUSTRILLE-LES-GRACAY,  Cher.  Eglise  consists  of  a  nave,  the 
transverse  arches  of  whose  barrel  vaults  are  carried  on  engaged  columns;  of  two 
side  aisles,  also  barrel-vaulted;  of  transepts  without  absidioles;  of  a  choir  flanked 
by  two  side  aisles,  and  of  three  apses.  Internally,  the  archivolts  are  of  a  single  order, 
the  windows  shafted.  The  exterior  is  adorned  with  an  engaged  arcade,  triangular 
masonry,  and  salient  buttresses.  A  straight  wall  masks  the  half-dome  of  the  apse. 
The  nave  and  fa9ade  are  largely  of  the  XIV  centurj';  as  for  the  rest  of  the  edifice, 
whUe  much  of  the  decoration  certainly  shows  the  survival  of  Carolingian  tradition, 
no  portion  can  well  be  earlier  than  the  second  half  of  the  XI  century,  although  M.  de 
Kersers  does  not  hesitate  to  assign  the  construction  to  a  date  "very  near  1014." 

CHARLY,  Cher.  Eglise.  In  1854  the  nave  and  a  part  of  the  tower  were  en- 
tirely reconstructed;  but  what  remains  of  the  original  edifice  seems  to  date  from  the 
XI  century.  The  semicircular  apse  is  adorned  internally  with  highly  interesting 
mural  paintings  and  with  three  arcades  borne  on  colonnettes;  externally  it  is  divided 
into  bays  by  columns  engaged  before  pilasters.  The  tower,  which  rises  over  the  cross- 
ing, is  of  imusually  gracious  design;  it  is  two  stories  high  and  crowned  by  a  conical 
spire  —  the  only  central  spire  in  the  departement  of  Cher  —  and  four  angle  turrets. 
(De  Kersers  W,  11.) 

GERMIGNY,  Cher.  Eglise  is  one  of  the  most  remarkable  monuments  of 
Berry.  The  choir,  the  three  eastern  apses,  and  the  transepts,  according  to  M.  de 
Kersers,  are  in  the  main  constructions  of  the  XI  or  XII  century,  although  the  upper 
portions,  destroyed  by  fire  in  1772,  have  been  restored.  The  single-aisled  nave, 
the  narthex,  and  the  western  tower,  may  be  assigned  to  the  third  quarter  of  the  XH 
century.  A  most  remarkable  pendentive  dome  is  placed  over  the  central  bay  of 
the  narthex,  beneath  the  tower.     (De  Kersers  IV,  251.) 

28 


OTHER   MONUMENTS 

INEUIL,  Cher.  Egli^e  consists  of  an  apse  of  the  XI  century  polygonal  exter- 
nally, transepts  of  the  XII  century  with  absidioles,  and  a  Gothic  nave.  The  nave 
is  covered  with  sexpartite  rib  vaults;  the  crossing  has  a  cupola;  the  choir  is  surmounted 
by  round,  the  transepts  by  pointed,  barrel  vaults.  The  system  of  the  nave  is  contin- 
uous. Externally  the  central  tower  is  adorned  with  arched  string-courses  and  arched 
corbel-tables.     (De  Kersers  V,  160.) 

PRIMELLES,  Cher.  Eglise  consists  of  a  rectangular  nave  roofed  in  timber, 
a  fine  north  lateral  tower,  a  barrel-vaulted  choir  of  one  bay,  and  a  semicircular  apse. 
The  tower,  which  is  the  most  interesting  part  of  the  monument,  is  divided  into  four 
stories:  the  lowest  forms  the  base;  the  second  is  a  blind  story  adorned  with  triangular 
arches  borne  on  colonnettes  which  recall  the  Carolingian  work  at  Lorsch,  etc.;  the 
third  —  the  belfry  —  is  characterized  by  two  grouped  arches,  pierced  in  each  face, 
by  a  shaft  engaged  near  each  corner,  and  by  a  cornice  formed  of  a  fiat  corbel-table; 
and  the  fourth  consists  of  a  conical  spire  and  four  little  turrets.  The  lower  part  of 
the  tower  and  the  church  are  assigned  by  M.  de  Kersers  to  the  middle  of  the  XI  cen- 
tury, and  it  is  not  improbable  they  may  be  nearly  as  early  as  this.  (De  Kersers  III, 
161.) 

AVOR,  Cher.  Eglise.  Except  for  the  fa9ade  of  the  XII  century,  this  monu- 
ment must  date  from  the  XI  centur}',  though  hardly  from  the  first  half,  as  has  been 
claimed.  The  edifice  consists  of  a  choir,  covered  with  a  round  barrel  vault  and  flanked 
by  two  side  aisles  of  nearly  equal  height,  also  barrel-vaulted  and  opening  on  the 
choir  by  two  low  arcades;  of  a  semicircular  apse;  and  of  a  single-aisled  timber-roofed 
nave,  as  wide  as  the  three  aisles  of  the  choir.  The  fa9ade  is  adorned  with  arched 
corbel-tables  and  arcades,  and  with  a  Greek  cross  placed  in  the  gable.  (De 
Kersers  I,  186.) 

ALICAMPS,  Cher.  Eglise,  of  cruciform  plan,  is  of  interest  only  for  the  semi- 
circular apse  buttressed  externally  by  engaged  coliunns.  The  windows  of  this  apse 
are  round,  but  the  interior  archivolts  are  pointed,  and  rest  on  columns  engaged  on 
the  faces  of  pilasters.     (De  Kersers  VI,  94.) 

LE  MANS,  Sarthe.  Notre  Dame-du-Pre  ("Ancienne  Abbaye  St.  Julien"). 
Although  this  establishment  was  founded  in  the  first  half  of  the  XI  century,  the  old- 
est parts  of  the  existing  edifice  can  not  be  older  than  the  last  half  of  that  century. 
The  structure  consists  of  a  nave,  two  side  aisles,  very  deeply  projecting  transepts 
with  absidioles,  a  chevet,  an  ambulatory,  and  three  radiating  chapels.  The  third 
and  fourth  bays  and  the  vaults  of  the  north  aisle  belong  to  the  XI  century;  the  rest 
of  the  church  is  substantially  a  work  of  the  XH  century,  with  the  exception  of  certain 
alterations  executed  in  the  Gothic  period.  Flat  pilasters  are  engaged  in  the  heavier 
piers  of  the  alternate  system  —  a  peculiarity  of  design  strongly  reminiscent  of  the 
cathedral  of  Le  Mans  as  it  was  in  the  XI  century.  VioOet-le-Duc  and  Ruprich- 
Robert  believe  that  these  pilasters  originally  supported  transverse  arches;  at  all 
events,  the  present  nave  vaults  were  added  in  Gothic  times.  The  archivolts  are 
in  two  orders;  the  windows  simply  shafted  and  moulded.  The  portal,  however,  is 
elaborately  moulded.  Externally,  with  the  exception  of  the  Gothic  windows,  the 
monument  is  thoroughly  Romanesque  in  appearance.     (Ledru;  Wismes.) 

29 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

MONTIERAMEY,  Aube.  Eglise.  The  Romanesque  nave,  five  bays  long, 
like  the  side  aisles,  is  covered  with  rib  vaults  in  which  round  and  pointed  arches  are 
used  side  by  side;  the  clearstory  windows  are  round;  there  are  no  flying  buttresses; 
rectangular  piers,  with  a  shaft  engaged  on  each  of  their  four  faces,  rest  on  octagonal 
pedestals.  The  pentagonal  choir  and  the  transepts  are  lofty  constructions  of  the  early 
XVI  century  with  flying  buttresses  and  enormous  windows.     (Arnaud,  119.) 

ANGY-SUR-L'AUBOIS,  Cher.  Eglise  consists  of  a  timber-roofed  nave, 
transepts  with  eastern  absidioles,  a  tower  rising  over  the  southern  transept,  a  square 
choir,  and  a  semicircular  apse.  The  barrel  vaults  of  the  choir  are  pointed;  that  of 
the  crossing  is  semicircular;  while  the  lower  story  of  the  tower,  which  seems  to  date 
from  about  the  middle  of  the  XII  century,  is  rib-vaulted,  —  an  important  and  early 
instance  of  this  construction  in  Berry.  The  capitals  of  the  nave  show  all  the  charac- 
teristics of  the  style  of  the  end  of  the  XI  century.     (De  Kersers  VII,  106.) 

CrVRAY,  Cher.  Eglise  consists  of  a  rectangular  choir,  a  rectangular  nave,  and 
an  enormous  square  tower  to  the  westward.  This  tower,  the  most  ancient  part  of 
the  church,  dates  probably  from  the  early  part  of  the  XII  century,  and  is  remarkable 
for  the  groin  vault  of  the  lower  story.  The  nave  is  roofed  in  timber;  the  choir  is 
rib-vaulted,  but  the  ribs  rest  on  corbels.  This  choir,  with  its  angle  buttresses,  is 
evidently  a  construction  of  the  XV  century.     (De  Kersers  II,  126.) 

CHAROST,  Cher.  St.  Michel.  The  choir,  the  central  cupola,  and  the  side 
aisles  were  rebuilt  in  the  XV  century,  so  that  only  the  large  and  bare  nave,  the  side 
aisles  of  the  choir,  the  three  apses,  and  the  transepts  of  the  primitive  structure  of  the 
XII  century  survive.  The  tower  has  been  moved  to  the  south.  Externally  the  church 
is  remarkable  for  the  engaged  arcades  and  columns  which  decorate  the  apse.  (De 
Kersers  IH,  119.) 

NEUILLY-EN-DUN,  Cher.  Eglise.  This  excellently  preserved  monument, 
notwithstanding  its  modest  dimensions,  possesses  a  remarkable  wealth  of  detail. 
The  structure  consists  of  a  semicircular  apse,  a  choir,  a  central  tower,  and  a 
single-aisled  nave  roofed  in  wood.  The  arches  throughout  are  round.  Externally 
the  edifice  is  remarkable  for  the  beautiful  design  of  the  central  tower,  which  is  richly 
ornamented  with  chevrons.     (De  Kersers  VII,  119.) 

MOUSSEY,  Aube.  St.  Martin  consists  of  an  exterior  narthex,  a  nave,  two  side 
aisles,  transepts  with  absidioles,  a  central  tower,  a  choir  flanked  by  two  lateral  cham- 
bers not  communicating  with  the  transepts,  and  a  semicircular  apse.  Although  the 
existing  clearstory  windows  are  pointed,  the  edifice  may  be  assigned  to  the  last  half 
of  the  XII  century.  The  piers  are  rectangular;  the  archivolts  are  of  a  single  order; 
and  there  is  no  system.  Salient  external  buttresses  exist  on  only  one  side,  —  a  dis- 
position so  much  the  more  peculiar  in  that  the  choir  is  the  only  portion  of  the  edifice 
vaulted.  There  is  almost  no  decoration;  were  it  not  for  the  profiles  of  the  mouldings 
and  the  stereotomy,  the  monument  might  pass  for  a  Carolingian  structure.  (De 
Kersers  I,  429.) 

CHALIVOY-MILON,  Cher.  Eglise.  This  small  monument  consists  of  a 
semicircular  apse;  a  choir  formed  of  two  distinct  parts  of  which  the  westernmost, 
higher  than  the  other,  is  barrel-vaulted;  a  south  lateral  tower;  and  a  nave.     Except 

30 


OTHER   MONUMENTS 

the  arcades  with  pointed  arches,  the  arched  and  flat  corbel-tables,  the  mouldings, 
and  the  very  salient  buttresses  —  all  additions  of  the  XII  century,  —  the  monument 
may  be  assigned  to  the  XI  century.  This  edifice  is  remarkable  for  the  many  mural 
paintings  of  various  epochs  that  it  contains. 

COUST,  Cher.  Eglise.  The  rectangular  nave  of  this  edifice,  which  may  be 
assigned  to  the  first  half  of  the  XII  century,  is  covered  with  a  modern  plaster  vault; 
the  narrower  choir,  however,  retains  its  ancient  pointed  barrel  vaults,  and  its  walls 
are  ornamented  with  round  arcades  resting  on  pilasters.  The  semicircular  apse 
pierced  by  three  windows  is  covered  with  a  half-dome.  To  the  south  of  the  choir 
stands  the  tower,  which  is  surmounted  by  a  spire.     (De  Kersers  III,  82.) 

CHARENTON,  Cher.  St.  Martin  consists  of  a  large  rectangular  nave,  vaulted 
in  plaster;  a  choir  with  round  barrel  vault;  a  south  lateral  tower,  furnished  with  a 
little  absidiole  (all  these  portions  notwithstanding  various  restorations  date  in  the 
main  from  the  second  half  of  the  XI  century);  and  an  apse,  evidently  later,  since 
the  transverse  arch  is  slightly  pointed.  The  western  portal  of  horseshoe  form  is  in 
several  orders.     (De  Kersers  III,  74.) 

Ahbaye.     Some  unimportant  fragments  remain.     (De  Kersers  III,  76.) 

CORQUOY,  Cher.  Eglise.  To  judge  from  the  quality  of  the  herring-bone 
masonry,  the  primitive  nave,  to-day  turned  into  a  dweUing-house,  must  date  from 
the  commencement  of  the  XI  century.  In  the  XII  century  a  reconstruction  of  the 
edifice  was  projected,  but  only  the  choir,  covered  with  a  pointed  barrel  vault  and  orna- 
mented with  double  arcades,  was  completed.  The  existing  central  tower  rises  over 
a  rib  vault  remade  in  the  XVI  century.     (De  Kersers  III,  294.) 

Abbaye  de  Grandmont.  The  chapel  of  this  abbey  is  still  intact,  and  consists  of  a 
long  nave,  covered  with  a  pointed  barrel  vault,  and  a  semicircular  apse,  wider  than  the 
nave  itself  —  the  whole  remarkably  destitute  of  all  decoration.     (De  Kersers  III,  295.) 

CHATEAUDUN,  Eure-et-Loire.  La  Madeleine,  founded  about  1140,  is  re- 
markable for  its  rib-vaulted  double  side  aisles.^  This  monument,  which  I  have  not 
visited,  seems  never  to  have  been  adequately  published. 

St.  Valerien  consists  of  a  nave  of  four  bays,  two  side  aisles,  transepts,  two 
absidioles,  a  choir,  and  a  semicircular  apse.  The  arcades  of  the  choir,  though 
modernized,  date  from  the  XII  century;  the  absidioles,  also  disfigured  are  of  the 
XI  century;  the  apse  is  of  the  XII  century;  the  docker  of  the  XVI.      (Juteau.) 

St.  Jean  is  said  to  be  of  the  XII  and  XV  centuries. 

SOLESMES,  Sarthe.  Abbaye.  The  original  church  of  the  XI  century  seems 
to  have  had  three  aisles,  but  in  1470  Philibert  de  la  Croix  suppressed  the  side  aisles 
and  erected  a  multiple  rib  vault  over  the  nave.  In  the  exterior  wall,  however,  may 
stiU  be  seen  traces  of  the  ancient  arcades.  The  choir,  which  formerly  ended  in  a 
semicircular  apse,  deviates  to  the  southward.  The  lower  part  of  the  central  tower 
is  Romanesque,  but  the  upper  story  is  flamboyant,  and  the  dome  dates  from  1731. 
This  church  is  best  known  for  the  remarkable  sculptures  it  contains  —  the  earliest 
(1496-1553)  and  among  the  most  famous  productions  of  the  French  Renaissance. 
(Gueranger;  De  la  Tremblaye;  Wismes.) 

1  Lefevre-Pontalis,  Arch.  Ret.  I,  88. 
31 


ROMANESQUE    MONUMENTS   OF   CHER,   ETC. 

ANNOYE,  Cher.  Eglise,  which  may  be  assigned  to  the  XII  century,  consists 
of  a  semicircular  apse  covered  with  a  half-dome  and  lighted  by  three  round-headed 
windows,  a  choir  surmounted  by  a  pointed  barrel  vault  with  transverse  arches,  and 
a  rectangular  nave  lighted  by  small  round-headed  windows.  The  vaults  which  it 
was  intended  to  erect  over  this  nave  have  never  been  executed.     (De  Kersers  V,  54.) 

TORCE,  Sarthe.  Notre  Dame.  Of  the  Romanesque  church  there  survives 
almost  nothing  but  the  great  portal;  the  present  western  tower  is  of  the  XIV  century, 
while  the  remainder  of  the  church,  which  consists  of  a  nave  without  clearstory,  two 
side  asles  somewhat  later  than  the  nave,  transepts,  a  choir,  and  a  polygonal  apse,  is 
a  construction  of  the  XVI  century.  The  choir  and  transepts  are  vaulted  with  Heme 
vaults,  but  the  vault  of  the  nave  is  a  modern  substitute  for  the  original  timber  roof. 
The  church  retains  some  fine  glass  of  the  XVI  century.     (Froger.) 

VENESME,  Cher.  Eglise  dates  principally  from  the  XII  century,  although 
the  choir  and  the  apse  were  vaulted  in  the  Gothic  period  and  the  entire  monument 
has  suffered  severely  from  modern  restorations.  Most  interesting  is  the  highly  domed 
groin  vault  of  the  crossing,  formerly  surmounted  by  a  central  tower  which  exists  no 
longer.  The  archivolts  are  in  two  orders  and  pointed.  The  original  absidiole  of 
the  south  transept  survives;  that  of  the  north  transept  appears  to  have  been  rebuilt. 
(De  Kersers  III,  322.) 

MONTIGNY,  Cher.  Eglise.  The  exterior  has  been  entirely  rebuilt,  but  the 
interior  preserves  its  original  character,  and  is  an  interesting  example  of  the  so-called 
transition.  The  edifice  consists  of  a  semicircular  apse  covered  by  a  ribbed  half-dome, 
a  barrel- vaulted  choir,  a  nave  whose  timber  roof  has  been  recently  rebuilt,  and  a  west- 
ern tower.  The  arches  are  pointed,  and  the  arcade  ornament  occurs.  (De  Ker- 
sers IV.  310.) 

LE  CHATELET,  Cher.  Ancienne  Eglise  Abbatiale.  The  plan  of  this  edifice 
of  the  XII  century  is  remarkable  in  that  the  piers  of  the  central  tower  fall  inside  the 
nave  walls.  Another  most  unusual  disposition  is  the  dome  on  pendentives  which 
surmounts  the  crossing.  Two  half  barrel  vaults  to  the  north  and  south  resisting 
the  thrust  of  this  dome  are  carried  on  arches;  their  existence  is  expressed  externally 
by  two  inclined  roofs.  The  church  has  been  frequently  altered  at  various  epochs: 
there  survives  only  one  bay  of  the  ancient  choir  —  now  terminated  by  a  rectangular 
east  wall, — and  only  the  northern  of  the  transeptal  absidioles.     (De  Kersers  TV,  13.) 

Cliapelle  St.  Martial  contains  some  fragments  of  the  XII  century  architecture. 
(De  Kersers  IV,  10.) 

COUDRECIEUX,  Sarthe.  Eglise  des  Loges  in  the  XI  century  consisted  of 
a  single-aisled  nave  and  a  narrower  choir  with  square  east  end.  Later  (early  in  the 
XII  century)  a  high  tower,  —  remarkable  for  its  pebble  cone  recalling  singularly 
those  of  Verona,  —  and  a  chapel  with  a  small  semicircular  apse  was  added  to  the 
south.  Subsequently  (1561),  still  another  chapel  was  added  to  the  north,  but  this 
has  been  destroyed.     The  church  contains  practically  no  ornament.     (Fleury.) 

LEVIEUX,  Cher.  Eglise  is  said  to  be  a  fine  example  of  the  style  of  the  XI  cen- 
tury. The  structure  consists  of  an  apse,  a  short  choir,  transepts  with  absidioles, 
a  central  tower  whose  piers  fall  within  the  nave  walls,  and  a  timber-roofed  nave 

32 


OTHER   MONUMENTS 

of  a  single  aisle.  Some  of  the  arches  are  of  horseshoe  form.  (De  Kersers  V, 
220.) 

ST.  AMAND,  (Mont-Rond),  Cher.  Eglise.  Chapels  have  been  added  along 
the  sides  of  the  nave.  The  choir  decorated  on  each  side  by  two  arcades  is  covered 
with  a  semicircular  barrel  vault;  the  crossing  is  surmounted  by  four  dome-like  vaults 
supported  by  ribs,  —  a  disposition  which  indicates  the  style  of  the  end  of  the  XII 
century,  and  perhaps  shows  the  influence  of  the  Plantagenet  style;  the  transeptal 
absidioles  are  vaulted  with  half-domes;  the  transepts,  nave,  and  side  aisles  have 
pointed  barrel  vaults  with  transverse  ribs.  The  western  doorway  is  of  the  XIII 
century.     (De  Kersers  ^1,  175.) 

ST.-GEORGES-DE-POYSIEUX,  Cher.  Eglise.  The  most  interesting  part 
of  this  much  dilapidated  structure  is  the  Romanesque  portal  in  three  orders.  The 
rectangular  nave,  roofed  in  timber,  terminates  to  the  eastward  in  a  wall  in  which  is 
pierced  a  narrow  and  low  pointed  arch.  This  arch  is  not  on  the  axis  of  the  nave, 
but  near  the  south  wall.  Another  wall,  parallel  to  the  one  in  which  is  placed  the 
opening,  with  it  supports  the  tower.  The  choir  extends  beyond  this  to  the  eastward, 
and  is  covered  by  two  crude  rib  vaults.     (De  Kersers  VII,  207.) 

OUROUER,  Cher.  Eglise,  said  to  be  of  the  XI  century,  is  cruciform  in  plan, 
though  the  transepts  (supplied  with  eastern  absidioles)  are  short.  The  nave  is  roofed 
in  timber.  A  fine  central  tower  with  semicircular  arches  dominates  the  exterior. 
The  decoration  consists  of  arcades,  flat  corbel-tables,  shafts,  and  arched  string-courses, 
and  the  apse  is  adorned  with  five  blind  arches  carried  on  half-columns.  (De  Ker- 
sers VI,  67.) 

LA  CELLE-CONDE,  Cher.  Eglise  de  la  Celle  consists  of  a  rectangular  nave 
of  the  XII  century  with  timber  roof  and  a  wooden-vaulted  choir  of  the  XV  century, 
deviating  to  the  southward.  The  portal  is  round-arched,  and  its  colonnettes  have 
capitals  whose  foliage  recalls  the  style  of  the  He  de  France.      (De  Kersers  V,  141.) 

Eglise  de  Conde.  The  large  cr^'pt,  like  the  rest  of  the  church,  may  be  attributed 
to  the  end  of  the  XI  century.  The  edifice  is  of  a  single  aisle,  and  terminates  in  a 
rectangular  choir  with  a  semicircular  barrel  vault.     (De  Kersers  V,  142.) 

LINIERES,  Cher.  Eglise,  built  in  the  second  half  of  the  XII  century,  was 
altered  at  the  end  of  the  XVI  century,  and  the  lantern  was  added  in  1635.  The 
structure  consists  of  an  apse,  a  choir,  transepts  with  absidioles,  and  a  single-aisled 
nave.  The  piers  of  the  central  tower  fall  within  the  walls  of  the  nave,  leaving  thus  a 
direct  passage  to  the  transept.  This  nave  may  have  been  originally  vaulted,  but  is 
now  covered  with  wood.  The  fa9ade,  with  its  mixture  of  round  and  pointed  arches, 
is  an  interesting  composition.     (De  Kersers  V,  167.) 

MOULINS-SUR-YEMIES,  Cher.  Eglise,  except  the  western  portal  of  the 
Xm  century  and  the  nave  probably  of  the  same  era,  may  be  assigned  to  the  XII 
century.  The  large  arches  are  all  pointed,  the  small  openings  round-headed. 
The  structure  consists  of  a  single-aisled  nave,  a  central  tower  whose  piers  fall 
within  the  nave  walls,  transepts,  a  choir,  and  three  apses.  A  dome  covers  the  cross- 
ing, but  the  choir  is  barrel-vaulted.     The  apse  is  shafted.     (De  Kersers  I,  250.) 

ROSNAY,  Aube.     Eglise.     This  edifice,  erected  in  the  third  quarter  of  the  XII 

33 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

century  but  much  altered  in  the  early  flamboyant  period,  contains  a  remarkable 
extended  crypt  with  ambulatory  and  three  radiating  chapels.  The  upper  church, 
which  was  entirely  reconstructed  in  the  XV  century  except  for  the  second  bay  and 
the  wall  of  the  side  aisle,  was  intended  to  be  vaulted  throughout,  but  the  vaults  of 
the  choir  were  never  excuted.  The  ambulatory  vaults  are  furnished  with  double 
pendants.     (Arnaud,  206.) 

CHASSY,  Cher.  Eglise  consists  of  a  polygonal  apse,  a  choir,  a  central  tower, 
and  a  nave  of  a  single  aisle.  The  apse  and  choir  only,  are  vaulted;  these  portions, 
though  the  windows  are  round-headed,  date  probably  from  the  XIV  century.  The 
remainder  of  the  edifice  is  of  the  XII  century.  Mural  paintings  have  been  discov- 
ered beneath  the  plaster  which  coats  the  interior  walls.     (De  Kersers  I,  215.) 

PONCE,  Sarthe.  Eglise  consists  of  a  nave  four  bays  long  roofed  in  timber,  a 
choir  flanked  by  two  side  aisles  which  formerly  ended  in  absidioles,  and  a  semicir- 
cular apse.  The  pointed  arch  is  everywhere  used;  the  piers  are  rectangular  with 
colonnettes  engaged  in  each  angle;  the  archivolts  are  of  a  single  order.  The  clear- 
story which  formerly  existed  has  been  walled  up.  This  monument  which  may  be 
assigned  to  the  last  years  of  the  XII  century  contains  some  remarkable  mural  paint- 
ings.    (Toublet.) 

SAVIGNY-EN-SEPTAINE,  Cher.  Eglise  is  assigned  to  the  second  half  of 
the  XII  century.  The  three-sided  apse,  pierced  by  three  little  round-headed  win- 
dows, is  surmounted  by  a  domical  rib  vault;  the  choir,  which  formerly  carried  a 
tower,  is  covered  with  a  very  crude  rib  vault;  the  nave  is  roofed  in  wood.  (De 
Kersers  I,  266.) 

CHAMBON,  Cher.  Eglise.  The  bells  are  placed,  not  in  a  tower,  but  in  the 
timbers  of  the  wooden  roof  of  the  rectangular  nave.  This  nave  opens  by  a  pointed 
arch  on  the  barrel-vaulted  choir,  whose  walls  are  decorated  with  arcades.  The  plan 
of  the  apse  is  in  the  form  of  a  segment  of  a  circle.  A  portal  flanked  by  two  blind 
arches  characterizes  the  facade.     (De  Kersers  III,  267.) 

CONCRESSAULT,  Cher.  Eglise.  The  oldest  portions  are  said  to  date  from 
the  XI  century,  but  the  structure  has  been  many  times  restored,  and  the  polygonal 
apse  with  its  angle  buttresses  was  entirety  rebuilt  in  the  flamboyant  period.  The 
nave  is  roofed  in  wood;  the  choir  is  surmounted  by  barrel  vaults  with  transverse 
arches.     Over  the  nave,  near  the  choir,  rises  the  tower.     (De  Kersers  VTI,  251.) 

LESSAY-LOCHY,  Cher.  St.  Hilaire,  restored  in  1725  and  again  in  the  XIX 
century,  consists  of  a  semicircular  apse  with  three  round-headed  windows,  a  choir 
covered  with  a  pointed  barrel  vault,  and  a  timber-roofed  nave  of  a  single  aisle  divided 
into  three  bays  by  columns  engaged  before  pilasters.  A  tower  formerly  surmounted 
the  choir.  The  walls  of  the  latter  are  decorated  internally  with  arcades  of  a  "trans- 
itional" character.     (De  Kersers  V,  69.) 

FLAVTGNY,  Cher,  flglise,  assigned  to  the  XI  century,  consists  of  a  semi- 
circular apse;  a  choir  whose  walls,  decorated  with  arcades,  are  surmounted  by  a 
semicircular  barrel  vault,  although  the  crossing  has  a  dome  on  squinches;  transepts 
without  vaults  or  absidioles,  and  a  nave  also  roofed  in  wood. 

FRESNAY-LE-VICOMTE,  Sarthe.     Notre  Dame.    This  church  of  the  late 

34 


OTHER   MONUMENTS 

XII  century  consists  of  a  single-aisled  nave  entirely  vaulted,  a  central  tower,  and  a 
semicircular  apse.  The  rich  western  portal  is  in  three  orders.  The  apse  probably  is 
a  relic  of  an  earlier  edifice,  which  it  was  intended  to  replace  by  a  more  pretentious 
choir.     (Wismes.) 

GARIGNY,  Cher.  Eglise.  The  nave  and  the  choir  are  at  present  roofed  in 
timber,  but  the  walls  of  the  choir  lean  outward,  a  fact  which  probably  indicates  that 
the  edifice  was  originally  covered  with  vaults,  which  have  doubtless  fallen.  The 
choir  is  at  present  square;  it  was  formerly  surmounted  by  a  tower  and  supplied  with 
a  semicircular  apse,  some  traces  of  which  remain.  Although  the  archivolts  are 
pointed,  the  whole  construction  doubtless  dates  from  the  XII  century.  (De 
_  Kersers  VI,  287.) 

I  ARCOMPS,  Cher.  Eglise  consists  of  a  rectangular  nave,  of  which  the  vault 
has  recently  been  rebuilt  in  plaster;  a  little  tower,  whose  upper  parts  are  modern,  rising 
in  front  of  the  fa9ade;  and  a  choir  also  plaster-vaulted.  The  details  of  ornamenta- 
tion, "transitional"  in  character,  are  not  without  interest.     (De  Kersers  VII,  183.) 

LA  CHAPELLE-HUGON,  Cher.  Eglise  of  the  XII  century  consists  of  a  semi- 
circular apse,  a  choir  of  two  bays  decorated  with  arcades,  and  a  nave  whose  vaults 
have  recently  been  replaced  by  a  plaster  imitation.  All  the  great  arches  are  pointed. 
The  structure  was  originally  barrel-vaulted  throughout  except  the  bay  under  the 
central  tower,  which  retains  its  original  dome  on  squinches.     (De  Kersers  IV,  226.) 

OSMERY,  Cher.  Eglise.  Since  it  is  known  that  about  1150  Ebbe,  viscount 
of  Champallemant,  left  a  legacy  to  the  neiv  church  of  Osmery,  the  date  of  the  pres- 
ent structure  may  be  considered  as  approximately  established.  The  choir  is  now 
vaulted  in  plaster,  but  the  original  vault  was  of  stone;  the  crossing  is  surmounted 
by  an  octagonal  cloistered  dome  on  squinches;  the  nave  is  roofed  in  wood.  All  the 
four  great  arches  which  support  the  central  tower  are  pointed.  The  facade  is  pre- 
ceded by  a  sort  of  porch  adorned  with  arched  corbel-tables  and  blind  arches.  (De 
Kersers  IV,  125.) 

ARDENNAIS,  Cher.  Eglise.  The  ribs  of  the  choir  vault  rest  on  short  pris- 
matic shafts  carried  on  corbels.  The  nave,  to  judge  from  the  round-headed  portal, 
must  be  Romanesque,  although  its  original  character  is  completely  masked  by  a  heavy 
coating  of  modern  plaster.     (De  Kersers  IV,  1.) 

BUSSY,  Cher.  Eglise.  The  nave,  a  construction  of  the  early  Gothic  period, 
is  of  less  interest  than  the  choir,  with  its  two  transept-like  chapels  of  the  XV  century. 
The  eastern  portions  of  the  edifice  are  vaulted;  but  the  nave  is  roofed  in  timber. 
Two  very  richly  moulded  Romanesque  portals  are  doubtless  relics  of  an  earlier  edi- 
fice.    (De  Kersers  IV,  54.) 

CHATEAU-LANDON,  Seine-et-Marne.  St.  Andre.  This  beautiful  church, 
which  contains  some-  fragments  of  XII  century  architecture,  is  notable  for  its  fine 
narthex-tower. 

Notre  Dame.  This  fine  structure  of  the  XI,  XII,  and  XIV  centuries  is  notable 
for  three  fine  Romanesque  portals,  and  for  a  tower  of  the  XIII  century. 

St.  Ugalde,  a  ruined  edifice  of  the  XII  and  XIII  centuries,  is  of  interest  for  the 
Romanesque  tower. 

35 


ROIVIANESQUE   MQNUMENTS    OF   CHER,    ETC. 

St.  Severin  is  said  to  be  of  the  XII,  XV,  and  HXl  centuries. 

THAUMIERS,  Cher.  Eglise.  The  oldest  portions  of  this  church  are  said  to 
date  from  the  end  of  the  XI  century.  The  edifice  consists  of  a  semicircular  apse,  a 
choir  two  bays  long  (the  western  bay  surmounted  by  the  central  tower),  and  a  nave. 
The  barrel  vaults  and  the  arches  of  the  choir  are  round,  but  those  of  the  nave  are 
pointed.  The  lateral  portal,  to-day  walled  up,  was  in  several  orders,  and  flanked  by  two 
blind  arches,  the  one  to  the  left  pointed.  Engaged  columns  decorate  the  apse.  All 
the  chapels  were  added  subsequently  to  the  original  construction.    (De  Kersers  HI,  94.) 

MERGEY,  Aube.  St.  Sulpice.  The  principal  portal  was  reconstructed  in 
1771;  the  nave  and  the  first  bay  of  the  side  aisles  (these  portions  are  lower  than  the 
rest  of  the  edifice)  may  be  assigned  to  the  XII  century;  the  five-sided  apse  and  the 
choir  flanked  by  side  aisles  each  of  which  terminates  in  a  rectangular  east  wall  are 
known  from  the  carved  escutcheons  to  date  from  between  1505  and  1515.  The  choir 
is  rib-vaulted;  the  nave  is  roofed  in  timber.  Certain  windows  of  the  choir  contain 
fine  glass  of  the  X^^  century-     (Fichot  I,  22.) 

JL'SSY,  Cher.  Eglise,  for  the  most  part  a  structure  of  the  XI  century,  consists 
of  a  semicircular  apse,  a  choir,  and  a  rectangular  nave,  and  tno  lateral  chapels  added 
in  the  XV  century.  Short,  heavy  columns  decorate  the  angles  of  the  apse  windows, 
which  are  in  two  orders.  The  fa9ade,  a  work  of  the  late  XII  century,  is  decorated 
with  oculi,  blind  arches,  a  Greek  cross,  and  archivolts  in  several  orders.  (De 
Kersers  I,  233.) 

CONGE-Snt-ORXE,  Sarthe.  Sglise.  The  Romanesque  edifice  of  the  XH 
century,  which  consisted  of  a  single-aisled  nave  and  an  apse,  was  much  altered  in 
1540,  when  the  present  windows  were  opened,  the  apse  rebuilt,  and  the  lateral  chapel 
added.     To  the  southwest  stands  a  bell-tower  of  unknown  date.     (Froger.) 

CHAUTAY,  Cher.  Eglise,  of  small  dimensions,  consists  of  a  semicircular  apse 
covered  with  a  half -dome,  a  choir  surmounted  by  a  pointed  barrel  vault,  and  a  single- 
aisled  nave  roofed  in  timber.  The  western  portal  is  characterized  by  a  lintel  placed 
beneath  a  pointed  discharging  arch;  the  exterior  decoration  is  composed  of  pilaster 
strips,  flat  corbel-tables,  and  arched  string-courses.  The  monument  doubtless  dates 
from  the  XH  century.     (De  Kersers  IV,  228.) 

LAV  ARE,  Sarthe.  Eglise.  The  edifice  of  the  end  of  the  XI  century  consisted 
of  a  single-aisled  nave  and  a  semicircular  apse;  but  in  1518  the  triumphal  arch  was 
rebuilt,  in  1551  a  transept  or  chapel  was  added,  and  in  1533  the  choir  was  made  over. 
The  wooden  roof  of  the  nave  is  the  original  one  of  the  X^T  century,  —  a  fact  which 
lends  additional  importance  to  this  interesting  little  monument.     (Toublet.) 

BANGY,  Cher.  St.  Martin.  The  Romanesque  portions  include  the  rectangular 
nave  and  the  somewhat  narrower  choir,  whose  apse  was  replaced  in  the  XV  century 
by  the  present  polygonal  structure.     (De  Kersers  I,  193.) 

LA.  FLECHE,  Sarthe.  St.  Tliomas.  The  ancient  edifice  of  the  XI  century 
was  restored  and  in  part  rebuilt  at  the  end  of  the  XII  century.  The  fa9ade  and  por- 
tal of  the  existing  structure  are  thoroughly  Romanesque,  as  are  the  groin  vaults  of 
the  side  aisles;  the  nave  and  choir,  however,  show  the  influence  of  the  lie  de  France, 
while  the  present  tower  is  modern.     (De  Loriere.) 

36 


OTHER   MONUMENTS 

PITHIVIERS,  Loiret.  St.  Salo7non.  Certain  portions,  —  notably  the  tower 
■ —  which  date  from  the  end  of  the  XII  century,  show  the  influence  of  the  school  of 
the  He  de  France,  or  rather  of  the  Plantagenet  school.  The  summit  of  the  tower  is 
modern.     (De  Caumont.) 

St.  Georges.  Of  this  church  there  survives  a  Gothic  side  aisle  and  a  Romanesque 
crypt,  in  addition  to  the  ancient  bell-tower  of  the  XIII  century,  which  now  surmounts 
the  Hotel  de  Ville. 

COURTENOT,  Aube.  Eglise  consists  of  a  narthex,  a  Romanesque  nave,  a 
southern  side  aisle  evidently  an  addition  of  the  Gothic  period,  a  central  tower,  and 
a  semicircular  apse.  With  the  exception  of  the  rib  vault  beneath  the  tower  and  the 
half-dome  surmounting  the  apse,  the  structure  is  roofed  in  timber  throughout. 
(Arnaud,  93.) 

ASNIERES,  Sarthe.  Eglise  of  the  XII  century  consists  of  a  simple  rectangle 
adjoined  to  the  northwest  by  a  plain  bell-tower.     (De  Loriere.) 

MEUNG,  Loiret.  Eglise,  classed  as  a  "  monument  historique "  is  a  curious 
little  church  which  may  be  assigned  to  c.  1175,  though  certain  fragments  are  doubt- 
less still  older.     The  Romanesque  tower  is  surmounted  by  a  stone  spire. 

VERAUX,  Cher.  Eglise  consists  of  an  apse  of  horseshoe  form,  transepts  whose 
absidioles  have  been  walled  off,  a  central  tower  whose  upper  story  is  decorated  with 
four  blind  arches,  and  a  timber-roofed  nave.  The  central  western  portal,  a  veritable 
chef  d'oeuvre  of  Romanesque  art,  is  characterized  by  decoration  as  original  as  it  is 
refined.  Like  the  rest  of  the  church,  this  portal  must  date  from  the  XII  century. 
(De  Kersers  VII,  163.) 

LE  PAVILLON,  Aube.  Eglise  consists  of  a  five-sided  apse  of  the  early  XVI 
century,  a  choir  with  multiple  rib  vaulting,  transepts,  and  a  timber-roofed  nave  of 
the  XII  century.  The  windows  of  the  choir  contain  fine  glass  of  the  XVI  century. 
(Fichot  I,  145.) 

FARGES,  Cher.  Eglise,  a  fine  example  of  the  small  rural  church  of  the  XII 
century,  consists  of  a  single-aisled  nave,  a  central  tower,  and  a  semicircular  apse.  The 
nave  is  roofed  in  wood,  but  the  choir  has  a  pointed  barrel  vault.     (De  Kersers  I,  223.) 

AUVERS-LE-HAMON,  Sarthe.  Eglise.  The  nave,  of  about  the  middle  of 
the  XII  century,  contains  remarkable  paintings  of  the  XV  century  recently  discovered 
on  the  walls  beneath  the  modem  plaster. 

NOHANT-EN-GRA^AY,  Cher.  Eglise  in  spite  of  disastrous  restorations  is 
stiU  of  interest.  Originally  the  edifice  consisted  of  a  nave,  transepts,  and  a  semicir- 
cular apse;  but  the  nave  has  been  rebuilt  in  modern  times,  the  transept  arms  have 
disappeared,  and  a  square  rib-vaulted  choir  of  the  XIV  centur}'  has  replaced  the 
apse.  The  rich  decoration  of  the  crossing  —  almost  the  only  relic  of  the  XII  century 
edifice  —  is  composed  of  chevrons,  grotesques,  etc.     (De  Kersers  IV,  186.) 

ORVAL,  Cher.  Eglise  consists  of  a  nave  of  a  single  aisle  roofed  in  wood,  a 
choir  covered  with  a  pointed  barrel  vault,  and  a  semicircular  apse.  The  fa9ade  is 
characterized  by  a  round  portal  in  several  orders.     (De  Kersers  VI,  159.) 

VIERZON,  Cher.  Notre  Dame.  The  Romanesque  structure  has  been  much 
modified:  the  ancient  semicircular  apse  and  transepts  have  been  replaced  by  the 

37 


ROMANESQUE    MONUMENTS   OF   CHER,    ETC. 

existing  polygonal  apse  and  by  the  present  choir  which  is  three  bays  long  and  flanked 
by  t,wo  lateral  chapels;  side  aisles  have  been  added  to  the  nave;  and  in  the  Gothic 
period  a  central  western  tower  forming  a  narthex  was  placed  before  the  edifice. 
(De  Kersers  VII,  345.) 

ST.  JANVRIN,  Cher.  Eglise  consists  of  a  single-aisled  nave,  transepts  with 
absidioles,  a  central  tower,  a  choir,  and  a  semicircular  apse.  The  tower  piers  fall 
within  the  nave  walls  leaving  a  direct  passage  from  nave  to  transepts.  The  church 
is  vaulted  throughout  with  barrel  vaults;  those  of  the  choir  are  round,  those  of  the 
nave,  pointed.  In  the  exuberant  decoration  as  well  as  in  the  plan,  the  edifice  shows 
the  influence  of  Burgundian  models.  The  monument  was  much  altered  in  the  XV 
century.     (De  Kersers  III,  238.) 

CORNUSSE,  Cher.  Eglise,  of  modest  dimensions,  consisted  originally  of  a 
semicircular  apse,  a  barrel-vaulted  choir,  and  a  timber-roofed  nave  —  the  arches  of 
these  portions  are  all  semicircular  and  the  decoration  primitive,  —  but  in  the  XII 
century  a  central  tower  was  added,  the  choir  was  slightly  altered,  and  the  present 
western  portal  with  its  fine  rich  mouldings  and  arched  corbel-tables  was  erected. 
(De  Kersers  VI,  17.) 

ST.  HILAIRE,  Cher.  Eglise  of  the  XII  century  is  cruciform  in  plan  and  sup- 
plied with  a  semicircular  apse.  Beneath  the  choir,  whose  walls  are  decorated  on 
either  side  with  blind  arcades,  extends  a  cr}^t.  The  angles  of  the  transeptal  absidioles 
are  decorated  with  columns.  The  vaults  of  the  central  tower  have  been  rebuilt,  but 
probably  on  the  original  plan.  Curiously  enough,  the  round  barrel  vaults  of  choir 
and  transepts  are  surmounted  by  pointed  arches.  The  single-aisled  nave  has  been 
modernized;   the  tower  piers  fall  within  its  walls.     (De  Kersers  V,  180.) 

MACEY,  Aube.  St.  Martin,  a  cruciform  edifice  reconstructed  about  the  end 
of  the  XVI  century,  is  remarkable  chiefly  for  the  Romanesque  portal  preserved  in 
the  west  facade,  and  for  the  stained  glass.  The  nave,  whose  walls  were  partly  re- 
built in  1615,  is  roofed  in  timber,  but  the  choir  and  the  chapels  are  vaulted,  as  is  also 
the  polygonal  apse  partially  reconstructed  in  1864.     (Fichot  I,  118.) 

LAZENAY,  Cher.  Eglise.  The  nave  (demolished  in  1875)  and  the  central 
tower,  which  still  stands,  were  erected  in  the  XI  century,  but  the  choir  is  probably  of 
the  XII  century,  although  it  was  much  modified  in  the  late  Gothic  period,  when  the 
present  rib  vaults  were  erected.  This  choir,  whose  axis  deviates  to  the  north,  is  two 
bays  long,  and  terminates  in  a  semicircular  apse.     (De  Kersers  V,  215.) 

CROSSES,  Cher.  Eglise  consisted  originally  of  a  semicircular  apse,  a  barrel- 
vaulted  choir,  and  a  rectangular  nave  roofed  in  timber.  In  the  XII  century  a 
central  tower  was  added  in  such  a  maimer  as  to  form  two  little  lateral  chapels. 
(De  Kersers  I,  221.) 

ST.-GERiVIAIN-DES-BOIS,  Cher.  Eglise.  The  nave,  with  wooden  ceiling, 
opens  by  a  round  arch  on  the  choir  which  is  covered  with  a  pointed  barrel  vault  and 
terminates  in  a  semicircular  apse.  This  choir  was  formerly  surmounted  by  a  tower, 
is  flanked  by  two  chapels,  and  deviates  to  the  south.  The  nave  has  been  ex-tended 
westward,  but  the  fa9ade  still  preserves  an  ancient  portal  of  the  XII  century.  (De 
Kersers  IV,  142.) 

38 


OTHER   MONUMENTS 

Clwpelle  de  Brou,  an  edifice  of  the  XII  century,  consists  of  a  rectangular  nave 
roofed  in  timber  and  a  rectangular  choir  with  a  semicircular  barrel  vault.  (De 
Kersers  IV,  143.) 

RIANS,  Cher,  ^glise.  The  most  ancient  parts  of  the  rectangular  plaster- 
vaulted  nave  may  vcell  date  from  the  XII  century;  the  square  choir,  however,  is 
later.  The  present  rib  vaults,  added  in  the  XIV  century,  rest  on  corbels;  the  tower 
is  modern.     (De  Kersers.) 

ST.  LYE,  Aube.  Eglise.  The  plan  forms  a  rectangle  to  the  east  of  which  pro- 
jects a  five-sided  apse.  The  most  ancient  portions  —  the  nave  and  side  aisles  —  date 
probably  from  the  XI  century,  for  the  crude  masonry  and  triangular  decoration  of 
these  parts,  only  partly  obscured  by  the  alterations  of  the  XIII  century,  recalls  Caro- 
lingian  tradition.  The  nave  is  roofed  in  timber;  the  choir,  for  the  most  part  a  struc- 
ture of  the  late  XIII  century,  is  vaulted.     (Fichot  I,  149.) 

VILLACERF,  Aube.  St.  Jean-Baptiste.  The  original  structure  of  the  end  of 
the  XII  century  was  disfigured  in  the  XVI  century  by  the  addition  of  transepts  and 
lateral  chapels.  However,  the  central  tower,  the  apse,  the  timber-roofed  nave,  and 
the  portal  of  the  Romanesque  edifice  still  remain.  The  choir  is  covered  with  groin 
vaults  with  pointed  transverse  ribs.     (Fichot  I,  88.) 

BLANCAFORT,  Cher.  Eglise.  The  primitive  edifice  of  the  middle  of  the  XI 
century  consisted  of  a  narrow  rectangular  nave,  a  central  tower  supported  on  the 
lateral  walls,  and  probably  a  semicircular  apse.  In  the  XIV  or  XV  century,  how- 
ever, two  lateral  chapels,  forming  as  it  were  transepts,  were  added;  in  the  XVI  cen- 
tury the  present  central  western  tower  was  built;  and  in  modern  times  the  existing 
side  aisles  were  constructed.  The  choir  is  the  only  portion  of  the  edifice  vaulted. 
(De  Kersers  I,  95.) 

CRE-SUR-LOIRE,  Sarthe.  Eglise.  The  choir  and  the  tower  belong  to  the 
original  construction  of  the  commencement  of  the  XIII  century,  although  the  style 
is  Romanesque.  The  nave  and  the  lateral  chapels,  built  at  a  later  epoch,  have  little 
character.  Notable  are  the  XVI  century  paintings  which  still  decorate  the  timbered 
roof.     (De  la  Bouillerie.) 

IGNOL,  Cher.  Eglise.  The  orientation  of  this  church,  which  originally  con- 
sisted of  a  nave,  a  central  tower,  and  an  apse,  has  recently  been  reversed;  the  apse 
has  been  demolished,  the  tower  converted  into  a  sort  of  narthex.  The  arcades, 
however,  still  retain  their  mural  paintings  of  the  XIII  century.  (De  Kersers 
VI,  25.) 

iLE-AUMONT,  Aube.  St.  Pierre  et  St.  Paul.  This  edifice  consists  of  two 
parallel  rectangular  aisles,  the  northernmost  of  which  —  a  Romanesque  structure  of 
the  XII  century  —  ends  in  a  semicircular  apse.  There  was  originally  a  third  aisle, 
but  this  has  been  demolished.  The  northern  aisle  is  roofed  in  timber,  except  the 
choir  which  is  barrel- vaulted.  There  is  a  central  tower;  the  piers  are  rectangular;  the 
archivolts  and  windows  are  of  a  single  order;  there  is  no  system.  The  southern  nave 
is  of  the  XVI  century;  its  two  eastern  bays  are  covered  with  multiple  rib  vaults. 
(Fichot  I,  392.) 

LAP  AN,  Cher.     Eglise  consists  of  a  nave  covered  with  a  round  barrel  vault 

39 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

and  of  a  semicircular  apse.  Transverse  arches,  resting  on  pilasters  and  buttressed 
externally,  divide  this  nave  into  four  bays.     (De  Kersers  V,  59.) 

VANNES,  Aube.  Eglise  de  VAssoinption  consists  of  a  single-aisled  nave  of 
the  XII  century  that  has  suffered  much  from  restorations,  a  modern  fa9ade,  Gothic 
transepts,  and  a  choir  of  the  same  epoch.  The  church  is  roofed  in  timber  throughout, 
and  the  well-preserved  open-timber  roof  of  the  transepts  and  choir  is  the  original  one 
of  the  XIII  century.     (Fichot  I,  71.) 

LERE,  Cher.  St.  MaHin.  This  ruined  edifice  has  been  many  times  rebuilt, 
and  contains  fragments  of  the  architecture  of  many  different  epochs.  The  structure 
consists  of  a  semicircular  apse,  a  choir,  a  great  nave,  and  a  narthex-tower  to  the  west- 
ward. Beneath  the  apse  is  a  cr^-pt,  and  beyond  this  a  chapel  —  these  are  doubtless 
the  oldest  portions  of  the  monument.  The  choir  is  covered  with  a  barrel  vault;  the 
crossing  and  nave,  with  multiple  rib  vaults.     (De  Kersers  V,  21.) 

Notre  Dame.  Of  this  desecrated  church  only  the  nave,  dating  from  the  XI,  XIII, 
and  XIV  centuries,  survives.     (De  Kersers  V,  24.) 

LOYE,  Cher.  Eglise.  Of  the  primitive  edifice  of  the  XI  century'  there  remain 
only  the  lateral  walls  of  the  choir,  decorated  internally  with  arcades.  At  the  end  of 
the  XII  century  a  central  tower  was  constructed  on  piers  placed  within  the  walls  of 
the  nave,  and  the  crossing  was  covered  with  a  rib  vault.  The  nave  was  probably 
vaulted  about  this  same  time,  but  the  vaults  have  since  fallen.  The  existing  portal 
dates  from  early  in  the  XIII  century;  the  choir  was  rebuilt  with  a  square  chevet  in 
the  flamboyant  period.     (De  Kersers  ^^I,  201.) 

CROSMIERES,  Sarthe.  St.  Hippolyie  et  St.  Laurent.  The  present  rectangular 
choir  in  the  style  of  the  XIII  century  is  covered  with  a  vault  constructed  of  small 
stones  mixed  with  much  mortar,  resting  upon  a  system  of  ribs  strongly  Plantagenet 
in  character.  The  tower  seems  to  be  about  contemporary,  but  the  single-aisled  nave, 
more  lofty  than  the  choir,  is  of  the  XV  century.     (De  la  Bouillerie.) 

FOUCHERES,  Aube.  Eglise.  The  nave  which  contains  a  curious  mi.xture  of 
round  and  pointed  arches  is  of  the  XII  century,  but  the  choir  was  reconstructed  in 
the  early  Gothic  period.  The  western  portal  is  remarkable  for  its  grotesque  capitals. 
A  wooden  ceiling  covers  the  single  side  aisle,  which  flanks  the  north  side  of  the  nave. 
The  choir  is  rib-vaulted  and  supplied  with  a  continuous  system.     (Amaud,  23.) 

LANTAN,  Cher.  Eglise  consists  of  a  rectangular  nave  and  a  semicircular 
apse.  The  eastern  portions  are  covered  with  rib  vaults  added  in  the  XV  century, 
but  the  nave  has  a  wooden  ceiling,  except  that  the  westernmost  bay,  which  carries 
the  tower,  is,  like  the  choir,  supplied  with  a  flamboyant  rib  vault.  The  walls  of  the 
nave  are  decorated  with  arcades.     (De  Kersers  IV,  120.) 

ST.-ELOI-DE-GY,  Cher.  Eglise  is  formed  of  two  separate  edifices  parallel 
to  each  other.  The  northernmost,  which  is  the  more  ancient,  was  the  church  of  the 
priory;  it  consists  of  a  polygonal  apse,  a  choir  covered  with  a  pointed  barrel- vault, 
and  a  nave  roofed  in  wood.  The  apse  is  peculiar  in  that  an  angle  of  the  plan  cor- 
responds with  the  axis.  This  construction  is  assigned  by  M.  de  Kersers  to  about  the 
middle  of  the  XII  century.  The  southern  church  is  a  structure  of  the  X^^  century 
with  a  square  east  end.     (De  Kersers  VI,  220.) 

40 


OTHER    MONUMENTS 

NERONDES,  Cher.  Eglise,  said  to  be  of  the  XI  century,  consists  of  a  semi- 
circular apse,  a  choir  whose  axis  deviates  to  the  south,  transepts,  a  southern  transeptal 
absidiole,  a  central  tower,  and  a  nave  coated  with  plaster.  The  west  portal,  evidently 
later  than  the  rest  of  the  construction,  must  date  from  the  very  end  of  the  XII  cen- 
tury. Externally,  the  edifice  is  remarkable  for  the  pointed  windows  and  the  apse 
decorated  with  shafts  and  flat  corbel-tables.     (De  Kersers  ^'I,  5i.) 

MERY-ES-BOIS,  Cher.  Eglise  contains  some  fragments  of  Romanesque 
architecture,  notably  in  the  north  wall.  The  southern  chapel  seems  to  be  of  the  XIV 
century.     The  vaulted  apse  of  the  XV  century  is  three-sided.     (De  Kersers  III,  31.) 

BARBERY-ST.-SULPICE,  Aube.  St.  Sulpice.  The  wooden-roofed  nave 
of  the  XII  century,  almost  entirely  rebuilt  in  the  XVI  century,  terminates  to  the  west- 
ward in  a  temporary  wooden  wall.  The  most  interesting  parts  of  the  church  are 
the  choir  with  its  lateral  chapels  and  the  five-sided  apse.  These  portions,  which  date 
from  the  early  XVI  century,  are  covered  with  simple  rib  vaults.     (Fichot  I,  99.) 

ST.-CHRISTOPHE-LE-CHAUDRY,  Cher.  Eglise  consists  of  a  rectangular 
nave  with  a  wooden  roof  of  16.33  and  of  a  barrel-vaulted  choir  terminating  in  a  square 
east  end  —  the  latter  an  exceptional  disposition.  The  western  doorway  in  three 
orders  is  round-headed.  Externally  the  church  is  remarkable  for  the  choir  walls 
adorned  with  blind  arcades.  The  tower  which  formerly  surmounted  this  part  of  the 
chiu'ch  has  disappeared.     (De  Kersers  III,  235.) 

STE.  LUNAISE,  Cher.  Eglise.  This  desecrated  edifice  originally  consisted 
of  a  semicircular  apse,  of  a  vaulted  choir,  and  of  a  rectangular  nave  roofed  in  wood. 
These  portions,  in  which  the  pointed  arch  is  consistently  used,  must  date  from  the 
commencement  of  the  XII  century.  Later  in  the  same  century  a  square  tower  was 
added  above  the  western  bay  of  the  nave.     (De  Kersers  V,  102.) 

MEREAU,  Cher.  Eglise  consists  of  a  semicircular  apse,  a  choir  formerly  bar- 
rel-vaulted, and  a  nave  roofed  in  wood.  The  portal  is  of  the  XI  or  XIII  century. 
(De  Kersers  V,  236.) 

NEIA'T.'-LE-BARROIS,  Cher.  Eglise.  A  semicircular  apse  is  preceded  by 
a  choir  of  two  bays  covered  with  a  pointed  barrel  vault.  Over  the  first  bay  of  this 
choir  rises  the  tower.  The  edifice  was  erected  in  the  last  half  of  the  XII  century, 
but  has  been  altered  in  the  flamboyant  period.     (De  Kersers  VII,  129.) 

SABLE,  Sarthe.  Notre  Dame.  This  church  was  erected  in  the  XI  century, 
much  altered  about  the  middle  of  the  XII  century,  and  largely  rebuilt  in  the  flam- 
boyant period.  The  fa9ade  was  again  remodeled  in  1709,  and  the  tower  in  1753. 
(Wismes.) 

SAGONNE,  Cher.  Eglise  is  assigned  by  M.  de  Kersers  to  the  XI  century. 
The  shallow  polygonal  apse  decorated  with  arcades  is  covered  with  a  half -dome; 
the  choir  is  supplied  with  a  rib  vault  of  the  XV  century.  The  nave  is  of  a  single  aisle. 
(De  Kersers  VII,  133.) 

ST.  CAPRAIS,  Cher.  Eglise  appears  to  have  originally  consisted  of  a  semicir- 
cular apse,  a  barrel-vaulted  choir,  and  a  nave  of  a  single  aisle,  but  has  been  much 
modernized.     To  the  south  rises  a  tower  with  an  absidiole.     (De  Kersers  V,  91.) 

PREUILLY,  Cher.     Eglise,  many  times  rebuilt,  consists  of  a  semicircular  apse, 

41 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

a  barrel-vaulted  choir,  two  chapels,  and  a  nave  of  a  single  aisle  roofed  in  wood.  The 
portal  is  assigned  on  its  style  to  the  XI  century.     (De  Kersers  V,  245.) 

VILLEQUIERS,  Cher.  Eglise  assigned  to  the  last  half  of  the  XII  century, 
consists  of  a  semicircular  apse,  a  choir  covered  with  a  pointed  barrel  vault,  and  a 
wooden-roofed  nave.  The  windows  and  arcades  are  round-arched.  (De  Kersers 
I,  276.) 

ALLOL'IS,  Cher.  Eglise.  The  oldest  portions  of  this  much  modernized  edi- 
fice are  assigned  to  the  XI  century.  The  apse  is  semicircular,  the  nave  has  a 
wooden  ceiling.     (De  Kersers  \,  262.) 

GENOUILLY,  Cher.  Pricure  de  Gramont-Fortblanche.  (III.  154.)  The 
church,  though  transformed  into  stables  and  storehouses,  is  preserved  nearly  intact. 
The  semicircular  apse  is  vaulted  with  a  half-dome;  the  nave  is  covered  with  a  slightly 
pointed  barrel  vault.     The  windows  are  also  pointed.     (De  Kersers  IV,  165.) 

GIIA(^AY,  Cher.  St.  Martin.  Only  fragments  of  this  church  survive,  the  en- 
tire nave  and  all  the  western  portions  having  been  destroyed.  The  transepts  have 
been  converted  into  a  cafe,  but  the  choir  and  the  three-sided  apse  are  still  intact.  Ex- 
ternally this  apse  is  characterized  by  columns  engaged  in  each  angle,  supporting  blind 
arches  beneath  which  open  the  windows,  shafted,  and  in  several  orders.  The  cor- 
nice consists  of  a  flat  corbel-table.  The  construction  evidently  dates  from  late  in 
the  XII  century.     (De  Kersers  IV,  178.) 

MONTLOUIS,  Cher.  Uglise  consists  of  a  nave  of  the  XI  century,  a  choir  of 
the  XII  century,  and  a  tower  of  the  XIII  century,  —  the  latter  flanking  the  church. 
The  monument  has  been  many  times  made  over:  the  fafade  at  present  is  furnished 
with  penetrating  buttresses;  the  windows  are  some  round,  some  pointed;  and  the 
nave  is  covered  with  a  plaster  vault.     (De  Kersers  V,  174.) 

MENETREOL-SUR-SAULDRE,  Cher.  Eglise  is  an  edifice  of  a  single  aisle 
with  a  square  east  end  and  a  wooden  roof.  The  building  dates  mainly  from  the  XV 
century,  but  the  north  chapel,  which  is  the  most  interesting  part,  is  probably  of  the 
XII  century,  and  is  doubtless  a  remnant  of  the  ancient  tower.     (De  Kersers  I,  161.) 

MONTCEAUX,  Aube.  St.  Syre.  The  single-aisled  nave  vaulted  in  plaster 
contains  some  fragments  of  architecture  dating  from  the  XII  century,  but  has  been 
many  times  restored.  The  choir,  constructed  in  1528,  is  supplied  with  a  multiple 
rib  vauh.     (Fichot  I,  417.) 

RIGNY-LE-FERRON,  Aube.  St.  Martin.  Although  the  church  was  en- 
tirely remodeled  in  the  first  half  of  the  XVI  century,  some  fragments  of  the  XII  cen- 
tury edifice  survive  in  the  nave  and  in  the  piers  of  the  transepts.  The  existing  choir 
is  flanked  b}'  side  aisles,  is  supplied  with  a  multiple  rib  vault,  and  ends  in  a  five-sided 
apse.  It  contains  some  fine  glass.  The  western  tower  was  rebuilt  in  the  last  years  of 
the  XVII  century.     (Fichot  I,  310.) 

ST.  BOUIZE,  Cher.  Eglise  of  the  XII  century  consists  of  two  rectangles: 
one,  which  is  covered  with  a  pointed  barrel  vault  in  two  bays  and  which  probably 
terminated  originally  in  a  semicircular  apse,  forms  the  choir;  the  other,  supplied 
with  a  wooden  ceiling,  is  the  nave.  To  the  west  rises  a  hea^'y  tower,  earlier  than  the 
XV  century.     (De  Kersers  VII,  36.) 

42 


OTHER   MONUMENTS 

ST.-PIERRE-DES-ETIEUX,  Cher.  Eglise  consists  of  a  single-aisled,  wooden- 
roofed  nave;  a  choir  covered  with  a  round  barrel  vault,  much  mutilated;  and  two 
chapels,  one  of  which  seems  to  be  older  than  the  church.  The  XII  century  tower 
is  the  most  interesting  part  of  the  monument;  it  is  characterized  by  three  stories 
of  shafted  windows  in  several  orders,  flat  corbel-tables,  and  a  spire  with  turrets. 
(De  Kersers  III,  89.) 

SAVIGNY-EN-SANCERRE,  Cher.  Eglise  consists  of  a  nave,  a  choir  sur- 
mounted by  a  tower,  transepts  evidently  later  than  the  rest  of  the  edifice,  and  an  apse 
semicircular  internally,  polygonal  externally.  The  nave  is  roofed  in  wood;  the 
choir  has  a  rib  vault,  which  apparently  replaces  the  original  cupola.  (De  Kersers 
V,  39.) 

VORNAY,  Cher.  Eglise  consists  of  a  semicircular  apse,  a  choir  which  orig- 
inally supported  a  tower,  and  a  nave  of  a  single  aisle.  The  gable  of  the  interesting 
fa9ade  is  ornamented  with  a  Greek  cross.  The  church  shows  three  difl^erent  eras  of 
construction,  all,  however,  falling  within  the  XII  century.     (De  Kersers  I,  281.) 

ACHERES,  Cher.  Eglise  is  assigned  to  "shortly  after  1075"  by  M.  de 
Kersers.  The  semicircular  apse  is  preceded  by  a  barrel-vaulted  choir,  and 
flanked  by  chapels  of  the  flamboyant  period.  The  rectangular  nave  is  not  vaulted. 
(De  Kersers  R^  293.) 

ST.  DOULCHARD,  Cher.  Eglise,  of  the  XI  century,  consists  of  an  apse, 
transepts,  transeptal  absidioles,  and  a  nave  of  a  single  aisle.  The  church  is  much 
mutilated,  and  has  lost  its  central  tower.     (De  Kersers  V,  305.) 

NEUILLY,  Cher.  Eglise.  The  nave  has  recently  been  rebuilt;  the  rectangular 
choir  of  the  XII  century  is  covered  with  a  pointed  barrel  vault.     (De  Kersers  IV,  315.) 

SANCERGUES,  Cher.  Eglise.  The  choir  and  transepts  are  of  the  XII  cen- 
tury; the  Gothic  nave  was  in  part  demolished  in  1-193.  The  apse  is  semicircular; 
the  choir  has  a  pointed  barrel  vault,  and  is  decorated  with  superposed  arcades.  There 
are  transeptal  absidioles.  The  nave  is  flanked  by  two  side  aisles;  its  vaults  have 
been  removed.  The  piers  are  cruciform  in  plan,  half  columns  being  engaged  on  the 
four  faces  and  colonnettes  in  the  angles.     (De  Kersers,  VI,  331!.) 

EPINEUIL,  Cher.  Eglise.  The  lower  portions  of  the  great  western  tower 
which  surmounts  the  narthex  are  assigned  to  the  end  of  the  XII  century;  but  the  bel- 
fry is  a  wretched  affair  of  the  Renaissance.  The  nave,  also  of  the  XII  century,  is 
decorated  with  arcades;  the  choir  slightly  narrower  terminates  in  a  square  east  end. 
This  monument  offers  little  of  interest.     (De  Kersers  VII,  193.) 

PARASSY,  Cher.  Eglise  consists  of  two  long  rectangles,  one  forming  the  nave, 
the  other,  somewhat  narrower,  the  choir,  —  both  of  the  XVII  century.  But  in  the 
west  fa9ade  is  a  rich  Romanesque  portal  adorned  with  che\Tons  —  doubtless  a 
remnant  of  the  XII  century  church. 

^^REZ-SOUS-BAR,  Aube.  Eglise  consists  of  an  exterior  narthex  with  a  rich 
Romanesque  doorway;  a  nave,  Uke  the  single  side  aisle,  a  timber-roofed  Romanesque 
construction,  except  the  easternmost  bay  which  is  rib-vaulted;  two  lateral  chapels; 
and  a  square  choir  —  the  eastern  portions  all  of  the  end  of  the  XV  or  early  XVI 
century.     (Amaud,  94.) 

43 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

MORNAY-BEKRY,  Cher.  Eglise,  assigned  to  the  XII  century,  consists  of  a 
semicircular  apse,  a  choir  vaulted  with  a  half-dome  on  squinches  and  surmounted  by 
a  central  tower,  and  a  nave  of  a  single  aisle  roofed  in  wood.  The  exterior  is  orna- 
mented with  double  arcades.     (De  Kersers  VI,  46.) 

VILLEMOYENNE,  Aube.  Eglise,  remarkable  for  its  western  narthex  and 
transepts,  possesses  a  nave  two  bays  long,  covered  with  vaults  of  the  XVI  century. 
The  Romanesque  apse,  although  semicircular  in  plan,  is  roofed  in  wood.  (Arnaud, 
82.) 

PRELY-LE-CHfiTIF,  Cher.  Eglise.  The  apse,  which  may  be  assigned  to 
the  XII  century,  is  decorated  with  paintings,  unfortunately  much  damaged.  A  wall 
separates  this  apse  from  the  choir.  The  nave  is  furnished  with  a  wooden  ceiling; 
the  western  portal  is  pointed.     (De  Kersers  III,  37.) 

SANTRANGES,  Cher.  Eglise  consists  of  a  narthex,  a  nave  flanked  by  a  south- 
em  chapel,  a  choir  covered  with  a-  pointed  barrel  vault,  and  an  apse  semicircular 
externally,  polygonal  internally.  The  nave  is  roofed  in  timber,  and  is  supplied  with 
a  rich  round-arched  portal  that  must  date  from  the  last  quarter  of  the  XII  century. 
Externally  the  apse  is  adorned  with  flat  corbel-tables,  arched  string-courses,  and 
salient  buttresses.     (De  Kersers  V,  35.) 

LA  GUERCHE,  Cher.  Eglise  du  Gravier,  assigned  by  M.  de  Kersers  to  the 
second  half  of  the  XI  century,  consists  of  a  semicircular  apse,  a  choir  covered  with  a 
cupola  on  squinches,  transepts,  and  a  nave.  Originally  all  the  arches  were  semicir- 
cular, but  many  were  rebuilt  in  the  pointed  form  when  the  church  was  made  over 
in  the  XV  century.     (De  Kersers  IV,  261.) 

NOZIERES,  Cher.  Eglise.  The  modest  nave  is  roofed  in  wood  and  supplied 
with  a  round-arched  portal;  the  choir  of  the  XIII  century,  however,  is  rib-vaulted, 
and  consists  of  two  bays  and  a  polygonal  apse.  The  vaulting  ribs  are  supported  by 
columns  resting  on  corbels.     (De  Kersers  VI,  152.) 

SUBDRAY,  Cher.  Eglise.  The  rib  vaults  of  the  single-aisled  nave  are  evi- 
dently an  addition  of  the  XV  century,  for  the  vaulting  ribs  rest  on  corbels.  The 
tower  of  the  XII  century  rises  over  the  narthex,  and  is  characterized  by  a  beKry  with 
round-headed  windows,  four  angle  turrets,  and  a  stone  spire  —  the  latter  was  conical 
in  shape  until  recent  restorations.  Two  chapels  have  been  added  to  the  church. 
(De  Kersers  III,  178.) 

ORCENAJS,  Cher.  Eglise.  It  was  intended  to  erect  vaults  over  the  nave, 
but  these  have  never  been  executed.  The  arch  of  the  main  portal  is  pointed.  The 
choir  of  the  XIII  century  is  notable  for  its  exquisite  details.     (De  Kersers  VI,  155.) 

REIGNY,  Cher.  Eglise.  The  single-aisled  nave  supplied  with  a  round-arched 
portal  is  roofed  in  timber;  the  choir  adorned  with  two  blind  arcades,  one  on  either 
wall,  is  surmounted  by  a  semicircular  barrel  vault;  and  the  apse  is  covered  with  a 
half-dome.     (De  Kersers  III,  233.) 

ST.-GERVAI&-DE-\1C,  Sarthe.  Eglise,  although  rebuilt  in  1450-98  and 
again  restored  in  the  Renaissance  style  in  1533,  still  retains  some  fragments  of  Ro- 
manesque architecture.  The  transepts  have  tribunes;  the  chevet  is  polygonal.  Only 
one  bay  of  the  nave  is  vaulted.     (Froger.) 

44 


OTHER   MONUMENTS 

STE.  MONTAINE,  Cher.  Eglise,  which  consists  of  two  rectangles  both  with- 
out vault,  has  so  little  architectural  character  that  it  is  difficult  to  judge  of  its  date; 
M.  de  Kersers,  however,  assigns  it  to  the  XII  or  XIII  century.  The  tower  was  erected 
in  1489,  when  the  church  was  severely  damaged  by  a  fire,  traces  of  which  are  still 
visible.     (De  Kersers  I,  IT-l.) 

ST.-PIERRE-DES-BOIS,  Cher.  Eglise  consists  of  an  apse  covered  with  a 
pointed  half -dome,  a  choir  (which  is  vaulted  in  wood),  and  a  nave  roofed  in  timber. 
A  central  tower  f  ormerl)'  rose  over  the  choir.  The  exterior  is  characterized  by  salient 
buttresses,  round  windows,  and  flat  corbel-tables.     (De  Kersers  IV,  38.) 

ST.-VITTE-LE-FLEURIEL,  Cher.  Eglise.  Of  this  much  mutilated  edi- 
fice there  remain  only  the  choir,  the  semicircular  apse,  the  south  transept  with  its 
absidiole  preceded  by  a  square  bay  covered  with  a  pointed  barrel  vault,  and  the  single- 
aisled  nave,  many  times  rebuilt.  The  north  transept  has  entirely  disappeared. 
(De  Kersers  VII,  215.) 

OIZON,  Cher.  Eglise.  The  single-aisled  nave,  roofed  in  timber,  seems  to 
be  the  earliest  portion  of  the  edifice,  for  the  portal  is  evidently  a  work  of  the  XII  cen- 
tury. The  rectangular  choir  of  the  XIII  century  and  the  lateral  chapels  of  the  flam- 
boyant period  are  at  present  vaulted  in  plaster,  but  were  doubtless  originally 
roofed  in  timber.     (De  Kersers  I,  165.) 

SILLE,  Sarthe.  Eglise.  On  the  south  side  of  this  church  a  curious  XII  cen- 
tury gable  surmounts  the  portal  which  gives  access  to  the  extended  crj'pt.  The  main 
portal  of  the  XIII  century  is  superbly  sculptured.  Most  of  the  structure  is  of  very 
late  date,  and  the  two  chapels  are  modern.     (Hucher.) 

SALIGNY-LE-VIF,  Cher.  Eglise,  of  slight  importance,  consists  of  two  wooden- 
roofed  rectangles,  one  of  which  serves  as  nave,  the  other  as  choir;  the  two  are  sep- 
arated by  a  wall  in  which  are  opened  three  arches.  The  round-arched  portal  is  in 
three  orders.     (De  Kersers  I,  263.) 

SOUTERRAIN  Cher.  Eglise.  The  nave  has  been  recently  reconstructed, 
but  the  ancient  choir,  which  is  assigned  to  the  XI  century  by  M.  de  Kersers,  still 
survives.  This  choir  is  covered  with  a  round  barrel  vault,  and  is  internally  decorated 
with  high  arcades,  blind  on  one  side,  but  pierced  by  windows  on  the  other.  The  apse 
is  vaulted  with  a  half-dome.  To  the  south,  the  church  is  adjoined  by  a  chapel  with 
absidiole.     (De  Kersers  VII,  188.) 

BRINAY,  Cher.  Eglise,  of  little  interest,  consists  of  two  rectangles,  both  roofed 
in  timber  and  communicating  with  each  other  by  a  low  round  archway.  The  build- 
ing has  been  much  rebuilt,  but  is  assigned  to  the  XI  century  by  M.  de  Kersers.  It 
contains  mural  paintings  of  the  XV  century.     (De  Kersers  V,  202.) 

ASSIGNY,  Cher.  Eglise,  rebuilt  in  the  XVIII  century,  consists  of  two  rectan- 
gles: the  nave  with  plaster  vault  contains  a  Romanesque  portal  in  three  orders;  the 
modern  choir  evidently  replaces  the  original  apse.     (De  Kersers  VII,  238.) 

VALLENAY,  Cher.  Eglise,  of  little  interest,  consists  of  two  rectangles:  the 
choir,  barrel-vaulted,  is  divided  into  two  bays  by  engaged  columns,  whose  capitals 
are  extremely  coarse;  the  nave  is  roofed  in  wood.     (De  Kersers  III,  315.) 

VESDUN,  Cher.     Eglise,  assigned  to  the  XI  century,  consists  of  a  rectangular 

45 


ROjVIANESQUE   MOJVUMENTS    of   CHER,   ETC. 

nave  covered  in  wood  and  a  barrel-vaulted  choir  whose  walls  are  adorned  with  high 
arcades.     The  triumphal  arch  is  of  horseshoe  form.     (De  Kersers  VII,  225.) 

BOUZAIS,  Cher.  Eglise  consists  of  a  rectangular  nave  of  the  XI  centurj'  roofed 
in  wood  and  of  a  rib-vaulted  choir  of  the  XV  century,  two  bays  long.  The  vaulting 
ribs  of  the  choir  are  prismatic.  The  pointed  triumphal  arch  is  assigned  to  the  XII 
century.     (De  Kersers  VI,  89.) 

GIVARDON,  Cher.  Eglise.  This  cruciform  church  was  struck  by  lightning 
and  burned  in  1553.  All  the  upper  parts,  the  western  fafade,  the  transepts,  and  the 
apse  were  then  destroyed,  and  soon  after  rebuilt  in  the  Renaissance  style;  but  the 
existing  central  tower  is  the  original  one  of  the  XII  century.     (De  Kersers  ^TI,  109.) 

MORNAY-SUR-ALLIER,  Cher.  Eglise,  assigned  by  M.  de  Kersers  to  the 
XI  century,  consists  of  a  semicircular  apse,  a  barrel-vaulted  choir,  and  a  nave  roofed 
in  wood.  The  old  central  tower  has  been  replaced  by  a  new  tower  rising  to  the  south 
of  the  edifice.     (De  Kersers  VII,  116.) 

PAISY-COSDON,  Aube.  Eglise  was  rebuilt  in  the  WI  century,  although 
certain  portions  of  the  edifice  of  the  end  of  the  XII  century  still  survive.  The  monu- 
ment, which  is  entirely  roofed  in  timber,  consists  of  a  rectangle  terminating  in  a  three- 
sided  apse.     (Fichot  I,  307.) 

SOULANGY,  Cher.  Eglise,  with  the  exception  of  two  modem  chapels,  consists 
of  a  simple  rectangle  much  elongated  and  (although  the  great  light  of  the  east  end 
has  been  walled  up)  generously  supplied  with  windows,  some  of  which  are  round- 
headed,  some  pointed.  A  wooden  vault  covers  the  whole.  The  round-arched  portal 
is  shafted  and  adorned  with  finely  moulded  archi volts;  the  bases  of  the  piers  are 
furnished  with  grifles. 

ST.-HYLAIRE-DE-GONDILLY,  Cher.  Eglise,  of  very  smaU  dimensions, 
consists  of  a  semicircular  apse,  a  choir  —  originaOy  vaulted  and  crowned  by  a  central 
tower,  but  now  roofed  in  timber,  —  and  a  nave  also  covered  with  a  wooden  ceih'ng. 
(De  Kersers  YI,  72.) 

CHAPPES,  Aube.  Eglise.  This  Romanesque  structure,  which  was  almost 
entirely  rebuilt  in  the  XVI  century,  consists  of  a  narthex,  a  nave  of  a  single  aisle,  a 
choir,  a  central  tower,  and  a  five-sided  apse.     (Arnaud,  85.) 

NEURY-DEUX-CLOCHERS,  Cher.  Eglise  contains  a  western  gable  and  a 
portal  of  the  XII  century.  The  choir  was  reconstructed  in  the  flamboyant  period, 
and  the  large  southern  chapel  is  a  work  of  the  XR'  century.     (De  Kersers  IV,  321.) 

TROUY,  Cher.  Eglise  consists  of  a  semicircular  apse  (whose  triumphal  arch 
rests  on  corbels),  a  chapel,  and  a  nave  of  a  single  aisle.  The  chapel  contains  some 
fine  glass  windows,  one  of  which  contains  an  inscription  of  1479.  (De  Kersers  V, 
116.) 

UZAY-LE-M^NON,  Cher.  Eglise  consists  of  a  choir  and  a  nave,  both  rec- 
tangular. The  choir  is  tno  bays  long  and  rib-vaulted,  the  ribs  resting  on  corbels; 
the  nave  is  roofed  in  timber  but  the  pilasters  engaged  on  the  piers  were  evidently 
intended  to  carry  transverse  arches.     (De  Kersers  III,  313.) 

LA-CHAPELLE-ST.-URSIN,  Cher.  Eglise,  despite  numerous  mutilations 
conserves  the  original  dispositions :  —  a  semicircular  apse,  a  choir,  a  nave,  and  a  west- 

46 


OTHER   MONUMENTS 

ern  tower.  The  choir  is  barrel-vaulted  and  decorated  with  arcades;  the  tower  is 
entirely  modern.     (De  Kersers  V,  274.) 

MONTREAL,  Yonne.  Eglise  is  said  to  have  been  constructed  in  1145  by 
Anseric  III,  and  to  be  a  transitional  edifice  of  the  greatest  interest. 

BALLON,.  Sarthe.  St.  Mars-sous-Ballon.  The  Romanesque  church  of  this 
priory  is  said  to  be  of  interest.     (Wismes.) 

SO  YE,  Cher.  Eglise.  The  existing  edifice  consists  of  a  large  rectangular 
nave  and  a  square  choir,  but  one  bay  of  the  choir  and  the  semicircular  apse  have  been 
destroyed.  Pointed  arches  are  employed,  and  the  walls  are  decorated  with  arcades. 
The  ornament,  which  shows  the  influence  of  the  He  de  France,  must  date  from  very 
late  in  the  XII  century.     (De  Kersers  V,  110.) 

VILLENEUVE,  Cher.  Eglise.  The  orientation  of  this  edifice  has  recently 
been  reversed,  but  the  ancient  side  walls  and  the  pointed  barrel  vaults  with  trans- 
verse ribs  have  been  preserved.     (De  Kersers  III,  185.) 

ST.-GEORGES-SUR-LA-PRE,  Cher.  Eglise,  of  little  interest,  consists  of 
an  apse,  a  choir,  a  nave,  and  a  tower  of  the  XV  century  placed  at  the  west  end 
of  the  edifice.  The  fa9ade  is  preceded  by  a  unique  porch  of  the  XII  century. 
(De  Kersers  IV,  197.) 

THENIOU,  Cher.  Eglise.  The  original  construction  dates  from  the  XII 
century,  but  in  the  XV  century  a  chapel  was  added  and  the  church  itself  gravely  al- 
tered.    Recently  the  edifice  has  been  almost  entirely  rebuilt.     (De  Kersers  VII,  331.) 

ETIVAL-EN-CHARNIE,  Sarthe.  Ahhaye.  Except  for  the  transept  arms, 
the  XII  century  church  was  entirely  destroyed  in  the  Revolution.     (Triger.) 

DAMPIERRE-EN-CROT,  Cher.  Eglise  consists  of  a  western  tower,  a  rec- 
tangular nave,  a  choir,  and  a  three-sided  apse.  The  nave  and  the  choir  have  wooden 
vaults;  the  portal  is  round-arched.     (De  Kersers  VII,  258.) 

LOMBRON,  Sarthe.  St.  Martin.  This  church  of  the  XII  century  consists 
of  a  nave  whose  wooden  roof  was  erected  in  1G09,  transepts  also  roofed  in  timber,  a 
central  tower,  and  a  semicircular  apse.     (Froger.) 

PIRMIL,  Sarthe.  Eglise,  which  dates  probably  from  the  XII  century,  is  sup- 
plied with  transepts  and  a  semicircular  apse.   The  roof  was  repaired  in  1429.    (Froger.) 

ST.  JUST,  Cher.  Eglise  has  just  been  restored.  However,  the  choir,  covered 
with  a  pointed  barrel  vault,  and  the  apse  are  ancient.  The  transverse  arches  are  in 
two  orders.     (De  Kersers  V,  95.) 

CHAMPAISSANT,  Sarthe.  St.  Gilles  is  of  interest  only  for  the  Romanesque 
portal  in  three  orders,  richly  ornamented.     (\'avasseur.) 

ST.-BENOlT-SUR-SEINE,  Aube.  Eglise.  The  wooden-roofed  nave  of  this 
cruciform  edifice  dates  from  the  XII  century,  but  has  been  many  times  altered.  The 
choir  consists  of  a  single  bay  covered  with  a  multiple  rib  vault.     (Fichot  I,  46.) 

VORLY,  Cher.  Eglise,  many  times  rebuilt,  consists  of  a  nave  of  a  single  aisle 
with  plaster  vault,  a  square  choir,  and  a  semicircular  apse  noticeably  inclined  to  the 
south.     (De  Kersers  V,  119.) 

GROIZES,  Cher.  Eglise.  To  the  ancient  rectangular  nave,  vaulted  in  wood, 
has  recently  been  added  a  brand-new  choir.     (De  Kersers  VI,  291.) 

47 


ROMANESQUE   MONUMENTS   OF   CHER,   ETC. 

ST.-PARRES-LES-VAUDES.  Eglise.  To  the  Romanesque  nave  roofed  in 
wood  was  added  in  the  flamboyant  period  a  transept,  whose  vaults  are  supplied  with 
double  pendants.     (Arnaud,  82.) 

DREVANT,  Cher.  Eglise,  of  little  interest,  consists  of  a  nave  with  plaster 
vault  and  a  choir  witli  rib  vault.  The  western  portal  is  assigned  to  the  XII  century. 
(De  Kersers  VI,  125.) 

Prieure  has  been  transformed  into  dwellings.  A  few  fragments  of  XII  century 
architecture  survive. 

KERRY,  Cher.  Abbaije  de  Chalivoy.  The  walls  of  the  church  of  the  XII  cen- 
tury are  preserved  in  certain  modern  houses.     (De  Kersers  VI,  296.) 

COURMONONCLE,  Aube.  CJiapelle  St.  Gengoul.  This  little  wooden-roofed 
monument  of  the  XII  century  consists  of  a  choir  and  nave.     (Fichot  I,  336.) 

FUSSY,  Cher.  Eglise,  recently  rebuilt,  contains  an  apse  and  tower  of  the  late 
XII  century.     (De  Kersers  VI,  198.) 

NOHANT-EN-GOUT,  Cher.  Eglise.  This  desecrated  edifice  consists  of  a 
single  unvaulted  rectangle.  It  dates  probably  from  the  XII  century,  but  the  eastern 
parts  were  rebuilt  in  the  XIV  century.     (De  Kersers  I,  260.) 

BRUERES,  Cher.  CJiapelle  St.  Pierre.  The  nave  is  ruined;  the  walls  of  the 
choir  have  been  built  into  a  modern  house.  The  portal  seems  to  date  from  the  end 
of  the  XI  century.     (De  Kersers  VI,  101.) 

AR(JAY,  Cher.  Eglise,  almost  entirely  rebuilt  in  1828,  preserves  of  the  ancient 
structure  onlj'  the  semicircular  apse.     (De  Kersers  V,  56.) 

CHAVANNES,  Cher.  Eglise  is  of  no  interest  except  for  the  Romanesque 
portal  assigned  to  the  XI  century.     (De  Kersers  III,  290.) 

VEZOT,  Sarthe.  Eglise,  in  part  of  the  XI  century,  contains  mural  paintings 
of  the  XIII  and  XVI  centuries. 

SIDIAILLES,  Cher.  Ahbaye  is  entirely  ruined.  However,  traces  exist  of  the 
square  apse  which  was  flanked  by  two  chapels,  as  well  as  of  the  springing  of  the 
barrel  vault  which  covered  it.     (De  Kersers  III,  254.) 

VAILLY,  Cher.  Eglise  has  been  many  times  rebuilt.  The  portal  of  the  XII 
century  is  round-arched;  the  nave  is  vaulted  in  wood,  the  choir  in  plaster;  the  apse 
is  semicircular.     (De  Kersers  VII,  280.) 

VOUZERON,  Cher.  Eglise  is  entirely  modern  with  the  exception  of  the  rect- 
angular nave  vaulted  in  wood.     (De  Kersers  VII,  361.) 

BOUY,  (near  Berry),  Cher.  Eglise.  Unfortunately  nothing  but  a  few  frag- 
ments built  into  a  modern  house  survives  of  this  edifice  which,  it  is  known,  was  erected 
between  1090  and  1100.     (De  Kersers  V,  270.) 

CHAMPAGNE,  Sarthe.  Abbaye  was  founded  in  1188.  Of  the  church  almost 
nothing  remains. 

BANNEGOU,  Cher.  St.  MaHin.  The  lower  parts  of  the  ancient  walls,  the 
buttresses,  and  the  portal  are  Romanesque.     (De  Kersers  III,  52.) 

MENETOU-RATEL,  Cher.  Eglise,  much  mutilated,  consists  to-day  of  a 
rectangle  vaulted  in  plaster.  A  fragment  of  the  archivolt  of  the  portal  seems  to  date 
from  the  XI  century.     (De  Kersers  VII,  25.) 

48 


OTHER   MONUMENTS 

LUNERY,  Cher.  Eglise  consists  of  a  rectangular  nave  vaulted  in  wood,  and 
of  a  semicircular  apse.  To  the  south  adjoins  a  massive  tower,  whose  lower  parts 
date  from  the  XI  century,  the  upper  from  the  XIII.     (De  Kersers  III,  136.) 

CRESANCY,  Cher.  Eglise.  The  lower  parts  of  the  walls  are  of  the  XII 
century.     The  apse  is  polygonal.     (De  Kersers  VII,  10.) 

CREZAN^AY,  Cher.  Eglise  consists  of  two  wooden-roofed  rectangles,  the  one 
forming  the  nave,  the  other  the  choir.     (De  Kersers  III,  301.) 

ST.-MICHEL-DE-VOLANGES,  Cher.  Eglise  contains  some  fragments  of 
Romanesque  architecture. 

ST.-VINCENT-DES-PRES,  Sarthe.     Eglise.     The  tower  is  Romanesque. 

CULANT,  Cher.  Notre  Dame.  Of  the  primitive  edifice  there  remains  only 
the  round-arched  west  portal;  the  rest  of  this  building,  destroyed  probably  by  the 
Protestants,  has  been  rebuilt  in  the  form  of  a  rectangle  flanked  by  two  chapels. 
(De  Kersers  III,  225.) 

SANCERRE,  Cher.  St.  Romble.  Of  the  structure  of  the  XII  century  there 
remains  only  the  wall  of  one  transept.     (De  Kersers  VII,  67.) 

JALOGNES,  Cher.  Eglise,  almost  entirely  reconstructed,  conserves  of  the  orig- 
inal structure  only  the  lower  portions  of  the  walls  together  with  a  portal  of  the  XI 
or  XII  century.     (De  Kersers  VII,  19.) 

DUN-SUR-AURON,  Cher.     Eglise. 

PANON,  Sarthe.     Eglise. 


49 


CHAPTER   VIII 


THE    TRANSITION 


BY  the  term  "transitional"'  it  is  common  to  designate  those 
monuments  of  the  He  de  France  which  were  erected  dur- 
ing the  period  in  which  Romanesque  architecture  was  gradually 
being  transformed  into  Gothic.  Consequently,  in  order  to  under- 
stand the  limits  and  nature  of  the  transitional  period,  it  is  neces- 
sary to  anticipate  a  little,  and  inquire  exactly  what  is  meant  by 
the  term  Gothic  in  architecture.  This  question  has  been 
the  subject  of  much  controversy.  The  word,  first  applied  as  an 
epithet  of  opprobrium  to  all  medieval  buildings  by  the  architects 
of  the  Renaissance,  was  given  a  technical  meaning  by  De  Cau- 
mont  and  the  archaeologists  of  the  early  XIX  century,  who 
employed  it  to  distinguish  buildings  with  pointed  arches  from 
those  with  round  arches,  which  were  called  Romanesque.  At- 
tention has  already  been  called  to  the  lack  of  precision  and  the 
vagueness  of  the  latter  term.  In  the  case  of  the  word  Gothic, 
the  same  elusiveness  exists,  and  has  been  far  more  generally 
felt,  for  the  monuments  to  which  it  is  applied  are  at  once  more 
beautiful  and  better  known.  Consec|uently,  as  deeper  knowl- 
edge has  revealed  the  fact  that  the  fundamental  element  of  the 
so-called  Gothic  buildings  lay,  not  in  the  pointed  arch,  but  in 
certain  deep-seated,  underlying  principles  of  construction,  nu- 
merous definitions  and  counter-terms  have  been  proposed  by  vari- 
ous archaeologists.  None  of  these  has  gained  wide  acceptance ; 
the  vague  and  unscientific  meaning  attached  to  the  word  Gothic 
has  become  so  deeply  rooted  in  our  language,  so  much  part  of 
the  daily  thought  and  speech  of  the  race,  that  there  is  little  pros- 
pect of  ever  establishing  a  more  precise  term,  or  of  giving  the 
word  itself  a  stricter  definition. 

Of  all  the  attempts  to  define  the  term  Gothic,  one  only,  that 
of  Mr.  Moore,  deserves  serious  consideration.     This  author  has 

50 


GOTHIC   ARCHITECTURE 

devoted  an  entire  chapter '  to  the  subject,  but  his  views  are 
fairly  summarized  in  the  following  passage:  " He [VioUet-le- 
Duc]  has  given  a  profound  and  exhaustive  illustration  of  Gothic. 
He  has  shown  that  this  architecture  consists  primarily  in  a 
peculiar  structural  system,  —  a  system  which  was  a  gradual 
evolution  out  of  the  arched  Roman  through  the  Romanesque,  — 
and  that  its  distinctive  characteristic  is  that  the  whole  scheme 
of  the  building  is  determined  by,  and  its  whole  strength  is  made 
to  reside  in,  a  finely  organized  and  frankly  confessed  frame- 
work rather  than  walls.  This  framework,  made  up  of  piers, 
arches,  and  buttresses,  is  freed  from  every  unnecessary  encum- 
brance of  wall,  and  is  rendered  as  light  in  all  its  parts  as  is  com- 
patible with  strength  —  the  strength  of  the  fabric  depending 
not  upon  inert  massiveness  (except  in  the  outermost  abutments) 
but  upon  a  logical  adjustment  of  active  parts,  whose  opposing 
forces  neutralize  each  other  and  produce  a  perfect  equilibrium. 
It  is  a  system  of  balanced  thrusts  in  contradistinction  to  the 
ancient  system  of  inert  stability.  Gothic  architecture  is  such 
a  system  carried  out  in  a  finely  artistic  spirit.  It  is,  indeed, 
much  more  than  this,  but  it  is  this  primarily  and  always. 
So  fundamental  and  far  reaching  is  this  peculiar  mode  of  con- 
struction as  the  distinctive  principle  of  Gothic,  that  it  may  be 
taken  as  a  rule,  that,  wherever  we  find  it  developed,  there  we 
have  a  Gothic  building,  even  though  the  ornamental  elements 
connected  with  it  may  retain  many  Romanesque  character- 
istics; while  on  the  other  hand,  wherever  a  framework  main- 
tained on  the  principle  of  thrust  and  counter  thrust  is  wanting, 
there  we  have  not  Gothic,  however  freely  the  ornamental  ele- 
ments may  differ  from  the  Romanesque." 

For  clearness  and  precision,  it  would  be  impossible  to  im- 
prove on  this  definition  of  Mr.  Moore's;  but,  unfortunately, 
such  a  classification  excludes  certain  buildings  that  have,  time 
out  of  mind,  enjoyed  the  appellation  of  Gothic,  —  indeed  all 
the  pointed  edifices  of  England,  Germany,  Spain,  and  Italy,  to 
say  nothing  of  those  timber-roofed  churches  of  the  He  de  France 
itself  which  are  in  age  and  ornament  of  the  self-same  style  as 
the  buildings  acknowledged  Gothic.     Consequently,  Mr.  Moore's 

1  Chapter  I  of  his  Gothic  Architecture.    The  passage  quoted  is  taken  from  pp.  7-8. 

51 


THE   TRANSITION 

definition,  excellent  as  it  is,  has  won  but  little  acceptance,  and 
has  had  as  its  chief  result  the  stirring  up  of  a  vast  amount  of 
indignation  among  the  admirers  of  English  cathedrals,  who 
consider  it  nothing  less  than  an  insult  to  the  old  minsters  to 
refuse  them  the  time-honored  epithet  Gothic. 

I  have,  therefore,  reluctantly  concluded  to  abandon  Mr. 
Moore's  definition  of  the  word  which  I  shall  employ  in  the  loose 
meaning  in  which  it  is  generally  understood,  to  designate  that 
architecture  which  grew  up  in  the  He  de  France  at  the  end  of 
the  XII  century  and  all  other  styles  directly  thence  derived.  It 
should  be  once  for  all  emphatically  stated  that  the  old  definition 
which  makes  the  pointed  arch  the  essential  characteristic  of 
Gothic,  is  not  only  erroneous  but  positively  misleading.  What 
the  true  nature  and  characteristics  of  Gothic  architecture  were, 
are  clearly  summarized  in  the  passage  above  quoted  from  Mr. 
Moore;  and  I  hope  they  will  be  made  familiar  to  the  reader  of 
this  and  of  the  succeeding  chapter. 

Just  where  the  line  is  to  be  drawn  between  the  transitional 
and  Gothic  periods  must,  in  consequence,  like  the  term  Gothic 
itself,  remain  vague.  Generally  speaking,  however,  we  may 
consider  the  Gothic  period  to  begin  when  the  new  principles 
had  gained  the  mastery,  and  the  old  Romanesque  elements 
had  entirely  disappeared.  This  era  dawned  with  the  construc- 
tion of  the  choir  of  Paris,  c.  1163,  although  in  other  regions  a 
parallel  development  was  not  reached  until  almost  the  end  of 
the  XII  century. 

The  beginning  of  the  transitional  period  is  much  easier  to 
place,  for  it  was  signalized  by  the  introduction  of  the  rib  vault 
into  the  He  de  France.  That  event,  in  all  probability,  occurred 
during  the  first  ten  years  of  the  XII  century,  and  we  shall  not 
be  far  out  of  the  way  in  assigning  it  in  round  numbers  to  the 
year  1100. 

This  transitional  period,  extending  thus  approximately 
from  1100  to  1180,  is  divided  into  two  nearly  equal  and  dis- 
tinct halves  by  the  construction  of  the  choir  of  the  abbey  church 
of  St.   Denis   in   1140-44.'     The  history  of  the  first   of  these 

'  St.  Denis  is,  then,  exactly  at  the  middle  point  of  the  transition,  and  far  from  being,  as  has 
often  been  said  by  writers  of  the  old  school,  the  first  of  the  transitional  monuments. 

52 


THE   FIRST   PHASE 

halves  —  the  first  phase  of  the  transition,  as  we  may  call  it  — 
is  still  somewhat  obscure,  although  recent  researches  have 
thrown  a  great  and  new  light  upon  the  subject.  But  unfor- 
tunately, not  a  single  surely  dated  monument  of  the  He  de 
France,  falling  between  the  years  1100  and  1140,  is  known. 
The  western  portions  of  Chartres  cathedral,  it  is  true,  are  dated 
approximately,  though  the  chronology  of  this  puzzling  struc- 
ture has  been  the  subject  of  much  controversy;  but  these  vaults 
were  erected  at  the  very  end  of  the  period  and  in  a  locality  some- 
what removed  from  the  center  of  the  transitional  movement. 
M.  Lefevre-Pontalis  believes  that  he  has  found  a  central  date 
of  support  in  the  chapel  at  Belief ontaine ;  but  as  M.  St.  Paul 
has  pointed  out,  the  charter  in  question  merely  granted  per- 
mission in  1125  to  build  the  chapel,  and  the  actual  construc- 
tion might  have  been  carried  out  at  any  time  subsequent  to 
this  date.  The  same  objection  applies  to  the  church  of  Air- 
aines,  whose  undated  charter  was  signed  by  Thibaut,  abbot 
from  1108-19.  Relics  were  brought  to  Morienval  in  1122,  and 
M.  St.  Paul  has  supposed  that  it  was  in  consequence  of  this 
circumstance  that  the  famous  ambulatory  was  built;  but  this 
argument  has  been  warmly  attacked  by  M.  Lefevre-Pontalis. 
For  certain  and  unquestionable,  therefore,  we  have  only  the 
state  of  architecture  as  it  was  at  the  end  of  the  XI  century  — 
this  state,  as  has  been  seen  in  the  preceding  chapter,  being  well 
established  by  authentically  dated  structures  —  and  the  state 
at  which  it  arrived  in  1140-44. 

Now  between  these  two  types  stand  a  crowd  of  undated  mon- 
uments showing  every  intermediate  stage  of  the  transformation, 
and,  if  it  once  be  granted  that  the  transition  progressed  by 
uniform  and  gradual  steps,  it  is  possible,  by  careful  study  and 
comparison,  to  assign  each  of  these  monuments  to  the  posi- 
tion it  should  occupy  in  the  logical  development  of  the  style. 
Many  archaeologists  have  attempted  this  delicate  task  with 
varying  success ;  —  notably,  M.  Lefevre-Pontalis  has  assigned 
dates  to  the  monuments  of  the  XII  century  in  the  diocese  of 
Soissons  in  so  plausible  a  manner,  that  it  is  beyond  all  reason- 
able doubt  that  we  have  beneath  our  eyes  the  entire  process  of 
evolution.     However,  it  must  be  candidly  recognized  that  these 

53 


THE   TRANSITION 

assigned  dates  offer  several  difficulties.  Architectural  progress 
always  describes,  not  a  smootli  curve,  but  a  wa%y  line.  Certain 
buildings  are  inevitably  in  advance,  as  others  are  behind,  their 
time;  strange  archaic  features  will  often  appear  ten,  twenty, 
fifty  years  after  improvements  have  been  discovered  and  gen- 
erally adopted.  Also  it  is  not  at  all  unlikely  that  progress  may 
have  been  much  more  rapid  at  certain  times  —  for  example, 
the  last  part  of  the  period  —  than  at  others,  that  advance  may 
have  been  made,  so  to  speak,  in  an  arithmetical  progression. 
Thus  all  these  assigned  dates  must  be  understood  to  be  relative 
and  somewhat  arbitrary,  and  the  exact  time  and  manner  of 
the  evolution  of  certain  details  must  remain  in  doubt.  None 
the  less,  the  broad  outlines  of  the  transitional  movement  must 
he  held  to  be  clearly  and  indubitably  established. 

Of  all  the  facts  which  these  modern  studies  have  demon- 
strated, the  fundamental  importance  of  the  rib  vault  is  the  most 
vital.  Here  is  the  key  which  gives  transitional  architecture  its 
meaning,  Gothic  architecture  its  existence;  here  the  principle 
on  which  was  more  or  less  completely  founded  all  the  archi- 
tectural history  of  the  later  Middle  Ages.  During  the  transi- 
tional period,  in  especial,  the  rib  vault  was  all  important;  it 
was  the  cause  from  which  all  else  followed.  Other  changes 
were  purely  incidental  or  followed  as  direct  consequences  of 
the  development  of  this  all  essential  feature.  It  is  clear,  there- 
fore, that  any  study  of  the  transitional  period  must  commence 
with  the  study  of  the  rib  vault. 

The  history  of  this  construction  falls  naturally  into  two  dis- 
tinct phases,  corresponding  to  the  two  halves  into  which  the 
history  of  the  style  is  divided.  During  the  first  phase  of  the 
transition,  1100-40,  the  builders  struggled  to  master  the  rib 
vault  in  its  simpler  problems;  they  learned  to  construct  it  on 
square  and  on  oblong  plans,  and  even  over  the  awkward  curves 
of  ambulatories,  but  their  experiments  were  always  on  a  small 
scale.  During  the  second  phase  (1140-80)  the  problem  of 
vaulting  great  naves  was  attacked;  the  evolution  centers  in 
the  peculiar  development  which  the  genius  of  the  French  builders 
gave  to  the  concealed  flying  buttress  and  to  the  sexpartite  vault, 
both    borrowed    from    Normandy.     In    the    foUowing    pages    I 

54 


SUB-SCHOOLS   OF   THE   ILE   DE   FRANCE 

shall  try  to  trace  the  development  of  the  rib  vault  in  these  two 
periods  successively. 

To  say  that  Gothic  architecture  originated  on  the  soil 
of  the  He  de  France,  has  become  almost  a  commonplace. 
The  country  which  we  call  roughly  the  royal  domain,  how- 
ever, was  in  the  XII  century  divided  architecturally  into 
several  sub-schools,  differing  slightly  from  one  another,  but 
all  showing,  in  somewhat  divergent  ways,  the  same  progress 
towards  the  same  goal.  Which  of  these  sub-schools  was 
the  creative  influence  has  recently  been  the  subject  of  much 
controversy.  M.  Lefevre-Pontalis,  who  on  the  whole  carries 
off  the  honors,  claims  this  distinction  for  the  school  which  flour- 
ished in  the  ancient  diocese  of  Soissons,  along  the  valleys  of 
the  Aisne  and  Oise.  M.  Enlart  sees  the  formative  influence 
even  outside  the  borders  of  the  He  de  France,  in  Picardy  and 
the  diocese  of  Amiens,  and  especially  in  those  lands  included 
in  the  present  departement  of  Somme.  Another  widely  accepted 
view  is  that  long  ago  advanced  by  M.  Woillez,  the  first  of  the 
long  line  of  scholars  to  specialize  in  this  period  —  a  view  which 
sees  the  cradle  of  Gothic  in  the  district  forming  the  ancient 
diocese  of  Beauvais,  and  roughly  corresponding  to  the  present 
departement  of  Oise.  Less  convincing  is  the  thesis  of  M.  St. 
Paul  who  looks  farther  to  the  Avest,  to  the  region  comprised 
between  Paris  and  the  Norman  border. 

In  which  of  these  four  sub-schools  the  rib  vault  first  made 
its  appearance  can  probably  never  be  proved,  nor  is  it  a  matter 
of  essential  importance.  The  vital  fact  is  that  it  did  appear 
somewhere.  Once  discovered,  it  seems  to  have  been  adopted 
and  developed  with  almost  common  enthusiasm  by  the  three 
sub-schools  of  Soissons,  Amiens,  and  Beauvais.  It  is  probable 
that  no  one  of  these  three  centers  was  exclusively  the  forma- 
tive influence  during  the  transitional  period;  all,  indeed,  formed 
parts  of  an  essential  whole,  all  contributed  to  the  common  pro- 
gress. One  adjustment  developed  and  was  advanced  more 
rapidly  in  one,  another  in  another.  Yet  the  three  were  never 
far  separated.  Any  material  progress  scored  in  the  valley  of 
the  Aisne  was  sure  to  make  its  way  without  long  delay  to  the 
banks  of  the  Somme  and  to  the  Beauvoisis.     Thus,  while  the 

55 


THE   TRANSITION 

three  sub-schools  are  undoubtedly  distinguished  by  local  char- 
acteristics, and  it  will  not  seldom  be  necessary  to  distinguish 
between  them,  yet  all  combine  to  form  a  single  unit,  which  may 
be  considered  as  the  generative  center  of  Gothic  architecture. 
After  c.  1135  I  should  also  include  in  this  unit  the  school  of  the 
West. 

Although  the  first  rib  vault  erected  in  the  He  de  France  may 
very  probably  be  forever  lost  to  us,  there  is  nevertheless  no 
doubt  that  this  feature  was  introduced  in  the  royal  domain  in 
a  spirit  far  different  from  that  in  which  the  alternate  system 
made  its  way  into  Normandy.  Here  was  no  Jumieges,  no 
surpassing  work  of  genius  where  the  new  idea  was  applied  at 
once  in  all  its  splendor  and  immediately  copied  throughout  the 
land.  It  rather  filtered  in  gradually,  and  took  its  place  unas- 
sumingly, almost  imperceptibly  in  the  humble  and  modest 
buildings  the  royal  school  erected  at  this  period.  In  fact,  all 
the  early  examples  of  the  rib  vault  that  have  come  down  to  us 
were  erected  on  a  very  small  scale  and  in  unpretending  rural 
churches. 

Probably  the  very  earliest  rib  vault  in  the  He  de  France  yet 
described  occurs  beneath  the  tower  of  the  little  church  at  Acy- 
en-Multien.  This  vault  is  constructed  on  a  plan  nearly  square. 
The  heavy  ribs  0'".46  in  width  and  of  rectangular  section  have 
no  sculptured  keystone,  but  are  constructed  absolutely  in  the 
Lombard  manner,  except  that  the  pointed  arch  is  already  used. 
Another  vault  precisely  analogous  has  been  recently  discovered 
at  Crouy-sur-Ourcq  (Seine-et-Marne)  and  has  been  published 
by  M.  Join-Lambert.  Still  another  rib  vault,  probably  almost 
contemporary  with  that  of  Acy-en-Multien,  is  found  in  the 
easternmost  bay  of  the  south  aisle  at  Rhuis  (III.  158).  This 
example,  which  is  assigned  by  M.  Lefevi-e-Pontalis  to  the  very 
first  years  of  the  XII  century,  is  also  constructed  on  a  plan 
nearly  square  and  evidently  replaces  an  older  groin  vault,  since 
the  diagonals  rest  on  corbels.  The  surface  is  not  domed,  but 
the  ridges  are  perfectly  horizontal,  and  there  are  no  wall '  ribs. 
At  Viffort   there   is   an   early  rib  vault   (111.    159)   also    erected 

"  Wall  ribs  are  ribs  at  right  angles  to  the  transverse  ribs,  following  the  cun'e  of  the  inter- 
section of  wall  and  vault  surface. 

56 


III.  158.  —  Rib  Vault  at  Rhuis.     (Redrawn  from  Lefevre-Pontalis) 


1 

B 

j 

3 

^: 

1 

r 

= 

rx 

_i 

— 1 

pJ 

— - 

— 

r 

1 

1 

III.  159.  —  Rib  Vault  at  Viffort.     (Redrawn  from 
Lefevre-Pontalis) 


EARLY   RIB   VAULTS 

on  a  plan  approximately  square.  Since  the  arches  of  this  vault 
are  all  round,  the  crown  is  much  domed.  Wall  ribs  exist  and 
the  diagonals  are  profiled  with  a  single  great  torus.  M.  Lefevre- 
Pontalis  assigns  this  vault  to  c.  1115,  or  to  a  period  fifteen  years 
later  than  the  vault  at  Rhuis.  At  Airaines  the  nave  is  covered 
with  rib  vaults  on  a  square  plan  possibly  of  about  this  date 
(1115);  and  the  vaults  of  Coudun  and  Catenoy  are  also  doubt- 
fully assigned  to  the  same  period. 

On  the  basis  of  the  scanty  evidence  supplied  by  these 
earliest  examples  there  are  several  important  questions  to  be 
answered.  First  of  all,  was  the  rib  vault  evolved  independently 
in  the  lie  de  France,  or  was  it  imported  from  Lombardy.'*  M. 
Lefevre-Pontalis  pronounces  without  qualification  in  favor  of 
the  former  alternative,  and  sees  in  the  vault  of  Rhuis  the  proof 
of  his  assertion.  This  vault,  it  is  true,  differs  from  the  Lom- 
bard type  in  not  being  domed  (111.  158).  This  fact  has  led 
M.  Lefevre-Pontalis  to  see  here  the  independent  evolution  of 
the  rib  vault. 

The  theory,  I  confess,  seems  to  me  to  offer  several  serious 
diflBculties.  In  the  first  place,  from  the  profile  of  the  ribs,  the 
vault  of  Rhuis  is  evidently  later  than  the  vaults  of  Acy-en- 
Multien  or  of  Crouy-sur-Ourcq,  which  are  of  the  developed 
Lombard  form.  The  evolution  would  hence  have  had  to  work 
backwards,  and,  although  in  architectural  history  we  are  often 
obliged  to  resort  to  the  hypothesis  of  the  survival  of  rudimentary 
forms  in  later  buildings,  in  this  case  such  a  theory  seems  unnec- 
essary and  far-fetched. 

Furthermore,  I  find  it  impossible  to  admit  that  the  earliest 
rib  vaults  were  not  domed. ^  The  whole  evolution  of  the  XII 
century  centered  in  the  struggle  to  avoid  this  very  doming.  If 
the  builders  of  the  first  rib  vault  had  been  able  to  construct 
level  ridges,  why  was  there  need  of  fifty  years  of  experiment 
to  enable  their  successors  to  learn  how  to  do  this  very  thing  ? 

'  Lest  this  statement  should  seem  to  be  made  unguardedly,  I  hasten  to  add  that  the  vaults 
of  Bury  are  not  domed,  and  that  at  Morienval  the  side  arches  are  but  slightly  lower  than  the  groins. 
In  both  these  instances,  however,  the  doming  was  avoided  only  at  the  expense  of  creating  other 
difficulties  even  more  awkward.  These  exceptions,  therefore,  in  reality  tend  to  confirm  the  posi- 
tion taken  in  the  text,  a  position  which  seems  to  me  clearly  justified  by  the  e\ndence,  although 
it  has  been  abandoned  bj*  jNIr.  Moore  in  the  second  edition  of  his  Gothic  Architecture,  p.  65. 

57 


THE   TRANSITION 

Although  I  have  not  examined  the  vault  of  Rhuis  on  the  spot, 
I  strongly  suspect  that  the  extraordinary  form  of  this  vault 
may  be  explained  by  supposing  that  a  groin  vault  was  built 
first,  and  that  subsequently,  whether  as  a  decoration,  or  as  a 
reinforcement  against  cracks  or  settlement  that  had  begun  to 
appear  in  the  masonry,  ribs  were  fitted  underneath.  A  confir- 
mation of  this  view  is  found  in  the  fact  that  the  corresponding 
bay  in  the  opposite  aisle  retains  just  such  a  groin  vault.  Fur- 
thermore, it  is  obvious  that  a  groin  vault  was  originally  con- 
structed in  this  compartment,  for  there  are  no  shafts,  and  the 
present  ribs  are  carried  on  corbels  —  an  evident  make-shift. 

Nor  are  indications  wanting  that  the  rib  vault  was  brought 
to  the  He  de  France  from  Lombardy,  where  we  have  seen  that 
it  came  into  existence  the  better  part  of  a  century  earlier,  for 
this  self-same  form,  which  is,  after  all,  peculiar,  appeared  at 
exactly  the  same  moment  in  half  a  dozen  different  schools  of 
France.  Thus  rib  vaults  of  the  first  twenty  years  of  the  XII 
century  were  erected  in  Brittany,  at  Ste.  Croix  de  Quimperle 
(now  replaced  by  a  modern  copy) ;  in  Saintonges,  at  Saintes  in 
the  crypt  of  St.  Eutrope,  and  at  Moissac  in  the  narthex  of  the 
abbey,  an  authentically  dated  monument  of  1100-08  (in  this  in- 
stance the  rib  vaults  were  supplied  with  wall  ribs  and  diagonals 
over  a  meter  wide) ;  in  Provence,  at  St.  Victor  of  Marseilles, 
at  St.-Guilhem-du-Desert  (Herault),  at  Maguelonne  (Herault), 
and  at  St.  Gilles  (Gard),  the  latter  authentically  dated  1116. 
Thus  all  over  France,  from  Brittany  to  Provence,  the  rib  vault 
appeared  in  the  first  quarter  of  the  XII  century.  It  is  suppo- 
sing too  strange  a  coincidence  to  believe  that  all  these  schools 
developed  independently  the  same  feature  at  the  same  moment. 
The  simultaneous  appearance  of  the  rib  vault  in  such  divergent 
styles  of  architecture  can  only  be  explained  by  supposing  that 
it  was  imported  to  all  from  a  common  outside  source.  And  that 
source  must  have  been  Lombardy.  The  modest  school  of  the 
He  de  France  at  this  epoch  was  not  in  a  position  to  influence 
Europe.  The  builders  of  the  great  abbey  of  St.  Gilles  would 
look  for  models  much  rather  to  the  impressive  nave  of  the 
famous  church  of  S.  Ambrogio  of  Milan  than  to  the  eastern  bay 
of  the  south  side  aisle  of  the  country  church  at  Rhuis. 

58 


LOMBARD   INFLUENCE 

How  extensively  the  architecture  of  western  Europe  was 
influenced  during  the  XII  century  by  Lombardy  has  ah-eady 
been  remarked;  and  this  Lombard  influence  afi^ected  the  archi- 
tecture of  the  He  de  France  in  other  ways,  as  well  as  in  the 
introduction  of  the  rib  vault.  The  ffriffe  and  the  arched  corbel- 
table  (111.  205)  had  already  in  the  XI  century  been  borrowed 
from  Lombardy,  as  we  have  seen;  and  at  the  beginning  of  the 
XII  century  the  latter  ornament  came  to  assume  in  the  He  de 
France  an  even  more  typically  Lombard  form.  Furthermore, 
I  suppose  there  is  no  feature  more  generally  recognized  as  es- 
sentially Italian  than  transverse  arches.  Now  in  the  XII  cen- 
tury these  transverse  arches  came  to  be  a  common  construction 
in  the  He  de  France.  A  list  of  examples,  which  I  add  in  a  note, 
will  give  some  idea  of  the  extent  to  which  they  were  employed.' 
It  is  a  remarkable  fact  that  in  the  same  church  —  Acy-en-Mul- 
tien  —  occur  very  early  examples  of  both  the  rib  vault  and  the 
transverse  arch. 

It  is  further  significant  that  the  early  rib  vaults  of  the  He 
de  France  —  with  the  already  noted  exception  of  Rhuis  —  were 
constructed  on  precisely  the  Lombard  lines,  being  square  (or 
nearly  so)  in  plan  and  highly  domed.  (111.  159.)  Also,  when 
the  builders  of  the  royal  domain  at  Airaines  and  Bellefontaine 
first  came  to  erect  rib  vaults  over  the  naves,  they  adopted  a 
system  precisely  similar  to  that  of  the  Lombards.  At  Airaines 
the  square  compartments  of  the  nave  correspond  to  an  equal 
number  of  groin-vaulted  compartments  in  the  aisles;  and  at 
Bellefontaine  there  is  a  regular  Lombard  system,  with  the 
square  bay  of  the  nave  embracing  two  bays,  also  square,  of 
the  aisles.^     This  Lombard  construction  was  soon  abandoned, 

'  Bethisy-St. -Martin,  Trucy,  Vailly,  Cerny-en-Laonnais  (possibly  of  the  XI  century),  Lav- 
ardin  (Loir-et-Cher,  on  the  borders  of  the  He  de  France,  and  perhaps  also  of  the  XI  century), 
Aizy,  Coulonges  (assigned  by  M.  Lefevre-Pontalis  to  the  second  quarter  of  the  XII  century), 
Villers-St.-Paul,  Acy-en-Multien,  St.  Alpin  of  Chalons-sur-Marne  (?),  Urcel,  Elincourt,  and 
Melun  (c.  1100). 

-  Lest  this  should  seem  to  contradict  what  has  been  said  above,  p.  263,  Vol.  I,  in  connection 
■with  the  derivation  of  the  sexpartite  vault,  it  may  be  well  to  state  that  this  nave  of  Bellefontaine  is 
an  almost  unique  instance  of  the  Lombard  alternate  system  in  the  royal  domain.  Moreover, 
since  the  nave  is  only  one  bay  long,  there  is,  strictly  speaking,  only  one  pier  and  hence  no  altera- 
tion of  supports.  It  is  only  much  later,  and  long  after  the  introduction  of  the  sexpartite  vault, 
that  two  more  solitary  instances  of  the  alternate  system  occur  at  Voulton  (Seine-et-Marne)  and 
Arcy-Ste-Restitute.     In  three  other  isolated  cases  —  Berteaucourt-les-Dames,  Melun  (c.   1100), 

59 


THE   TRANSITION 

but  it  formed  the  beginning  from  which  developed  the  peculiarly 
French  type  of  rib  vault.  In  view  of  all  these  considerations 
it  seems  to  me  impossible  to  doubt  that  the  rib  vault  was  intro- 
duced into  the  He  de  France  from  Lombardy. 

To  return  to  the  study  of  the  earliest  rib  vaults  of  the  He  de 
France,  one  of  their  most  striking  peculiarities  is  the  purely  ar- 
bitrary fashion  in  which  the  wall  ribs  are  either  retained  or 
omitted.  Wall  ribs  had  already  been  employed  in  Lombardy, 
as,  for  example,  in  the  vaults  of  S.  Ambrogio  (111.  104,  119, 
Vol.  I).  But  in  Lombardy  their  purpose  had  been  largely 
decorative,  to  give  a  firm  line  of  moulding  to  mark  the  inter- 
section of  the  vault  and  wall  surfaces;  they  had  never  been 
used  to  mould  the  surface,  and  give  the  entire  vault  its  charac- 
ter. This  structural  use,  however,  after  c.  1120,  came  to  be 
understood  by  the  architects  of  the  He  de  France,  although 
until  long  afterwards  a  certain  number  of  vaults,  especially  in 
country  churches,  continued  to  be  built  in  the  old  manner  with- 
out wall  ribs,  as,  for  example,  the  choir  of  Aizy,'  a  monument  as 
late  as  c.  1180.  The  omission  or  inclusion  of  this  member  is 
never,  then,  ipso  facto,  an  indication  of  date. 

and  Frou\'ille  (the  latter  later  than  1150) — the  piers  are  alternately  round  and  clustered,  but  there 
are  no  engaged  shafts,  and  the  roof  is  in  wood.  It  is,  then,  no  exaggeration  to  say  that  the 
alternate  system  was  unknown  in  the  lie  de  France  prior  to  the  introduction  of  the  sexpartite  vault. 
Similarly,  shafts  engaged  on  the  walls  of  the  nave  not  meant  to  be  vaulted,  although  introduced 
frequently  in  the  Romanesque  of  the  He  de  France  in  the  XI  century,  became  really  exceptional 
in  the  XII  century.  Examples  exist  only  in  the  nave  of  St.  Germain-des-Pres  (a  monument 
peculiarly  Norman  in  its  details),  at  Bonnes  (later  than  1150),  at  Vailly,  and  at  Bazoches  (where, 
however,  it  was  probably  the  intention  to  erect  vaults).  At  Bussiares,  pilasters  engaged  in  the 
piers  on  the  side  of  the  aisles  are  continued  to  form  buttresses  to  the  exterior  of  the  clearstory. 
These  exceptions,  I  think,  are  sufficiently  rare  to  fully  justify  the  assertion  that  neither  the 
alternate  system,  nor  the  engaged  shaft  —  the  two  requisites  for  the  evolution  of  the  sexpartite 
vault  —  belong  to  the  arcliitectural  style  of  the  lie  de  France  in  the  first  half  of  the  XII  century. 
'  Vaults  mthout  wall  ribs  may  be  found  at  Notre  Dame  of  Chalons-sur-Marne  (1157-83), 
Bellefontaine  (11:25-30),  at  Airaines  (c.  1115),  at  St.  Martin  of  Laon  (c.  1165),  at  St.  Martin 
d'Etampes  (c.  1165),  at  Cambronne  (c.  1145),  at  Bury  (c.  1125),  at  St.  Quiriace  of  Provins  (c. 
1160),  at  Aizy  (c.  1180),  at  Azy-Bonneil  (c.  1175),  at  Glennes  (c.  1150),  at  Bonnes  (c.  1150),  at 
Bruyeres  (c.  1130),  at  Pernant  (c.  1130),  at  Montigny-Lengrain  (c.  1160),  at  Foulangues  (c. 
1140),  at  Lucheux  (c.  1130-50),  at  St.-Vaast-les-lMello  (c.  1125),  at  Saconin  (c.  1135),  at  Fitz- 
James  (c.  1145),  and  at  Rhuis  (c.  1110).  On  the  other  hand,  wall  ribs  exist  after  1150  except  in 
exceptional  cases;  and  before  that  date  at  St.  Denis  (1140-44),  at  Sens  (c.  114.  et  seq.),  at  St. 
Germer  (c.  1140),  at  Pontoise  (1140-65),  at  Creil  (c.  1140),  at  Laffaux  (c.  1140),  at  Ciry  (c.  1130), 
at  Bailleval  (c.  1130),  at  Largny.  (c.  1140),  at  Bethisy-St.-Pierre  (c.  1125),  at  Dhuizel  (c.  1125), 
at  Berzy-le-Sec  (c.  1140),  at  Viffort  (c.  1115),  at  iSIarizy-Ste.-Gene\-ieve  (c.  1140).  From  this 
list  of  examples,  incomplete  as  it  is,  it  will  be  e\adent  that  the  popularity  of  the  wall  rib  steadily 
inceased  until  (after  c.  1150)  its  omission  became  exceptional. 

60 


GROIN   VAULTS 

While  thus  the  early  rib  vaults  of  the  He  de  France  showed 
much  variation  in  the  use  of  the  wall  rib,  they  were  all  —  with 
the  exception  of  Rhuis  —  alike  in  being  more  or  less  domed. 
The  Lombards  had  domed  their  rib  vaults  because  they  found 
it  easier  to  construct  the  ribs  in  the  form  of  semicircles,  or  of 
regular  curves,  and  subsequently  to  adjust  the  vault  surfaces  to 
this  framework,  than  to  work  out  in  advance  the  elliptical  curve 
of  two  intersecting  round  vaults,  and  construct  their  ribs  in 
this  form.  It  is  altogether  probable  that  the  early  builders  of 
the  He  de  France  domed  their  vaults  for  precisely  the  same 
reason.  A  vault  surface  with  its  planes  of  double  curvature  is 
very  difficult  to  foresee  accurately,  even  with  the  aid  of  projec- 
tions and  descriptive  geometry;  that  the  builders  of  the  crude 
vaults  of  the  first  quarter  of  the  XII  century  were  able  to  figure 
just  what  curve  of  the  diagonals  would  give  a  level  crown,  there 
is  no  reason  to  suppose.  Later  (c.  1140)  they  were  certainly 
able  to  do  so;  at  first,  however,  they  built  their  diagonals  as 
independent  arches  in  a  semicircular  form,  and  left  the  vault 
surface  to  look  after  itself.  Since,  however,  this  doming,  purely 
accidental  at  first,  was  found  to  possess  certain  structui'al  ad- 
vantages, in  that  it  brought  the  greater  part  of  the  weight  of 
the  vault  on  the  transverse  and  wall  ribs,  which  were  always 
more  substantial  and  solid  than  the  diagonals,  it  was  retained 
even  after  the  builders  had  learned  how  to  construct  vaults 
with  level  crowns,  so  that  up  to  the  very  end  of  the  Gothic  period, 
French  vaults  always  continued  to  be  built  in  a  slightly  dom- 
ical form. 

It  is  interesting  to  notice  the  relative  popularity  of  the  new 
rib  vaults  and  the  older  groin  and  barrel  vaults.  Rib  vaults 
seem  to  have  been  introduced  into  the  He  de  France  largely  at 
the  expense  of  the  groin  vault,  since  the  latter  construction, 
which  had  been  common  in  the  XI  century  and  which  had  held 
its  own  during  the  first  quarter  of  the  XII  century,^  after  c.  1125, 
became  increasingly  rare.  It  finally  passed  out  of  use,  although 
at    different   times  in  different  regions.     The  triforium  of  St. 

'  Examples  at  Airaines  (where  the  vaults  are  oblong  in  plan,  c.  1125),  at  Juvigny  (c.  1110), 
at  Chavigny  (c.  1110),  at  Orgeval  (c.  1100),  at  Allonne  (c.  1100-25),  at  Croissy  (c.  1115),  at 
Vregny  (c.  1100-25),  at  St.-Vaast-de-Longmont  (c.  1100-25)  and  at  St.  Cyr  of  BreteuU. 

61 


THE   TRANSITION 

Germer  (c.  1140)  contains  the  latest  example  of  the  groin  vault 
that  I  can  cite  in  the  valleys  of  the  Oise  or  its  tributaries;  but 
in  the  neighborhood  of  Paris  the  feature  persisted  until  as  late 
as  1180  at  Gallardon,  Vaux-de-Cernay,  and  Champeaux;  and 
there  are  examples  as  late  as  c.  1140  at  Poisy  and  c.  1155  at 
Domont.  Other  instances  of  the  survival  of  the  groin  vault 
at  a  late  date  occur  in  the  Chapel  of  the  Templars  at  Laon 
(c.  1135),  at  St.-Loup-de-Naud  (c.  1150),  and  at  St.  Lazare 
(c.  1140).'  However,  after  the  first  quarter  of  the  XII  century 
the  groin  vault  became  an  exceptional  construction. 

The  barrel  vault  did  not  yield  so  quickly  to  the  rivalry  of 
the  rib  vault.  During  the  first  quarter  of  the  XII  century  it 
was  far  more  popular  in  the  He  de  France  than  either  the  groin 
or  the  rib  vault,  and  has  left  us  twice  as  many  examples  ^  as  the 
other  two  combined.  It  appears  to  have  been  used  inter- 
changeably with  the  other  two  constructions  and  in  the  same 
positions:  almost  always  under  the  tower,  whether  this  was 
lateral,  or  rose  over  the  crossing  or  choir;  and,  occasionally, 
apart  from  the  tower  in  the  easternmost  bay  of  a  side  aisle,  or 
in  the  choir. 

During  the  second  quarter  of  the  XII  century,  however, 
the  barrel  vault,  after  a  brief  struggle,^  yielded  to  the  victorious 
rib  vault,  whose  advantages  had  now  come  to  be  appreciated. 
After  1150  I  can  cite  only  one  example  of  the  barrel  vault:  — 
the  narthex  of  Taillefontaine  (c.  1160).  Thus,  while  the  bar- 
rel vault  for  a  time  offered  a  much  more  vigorous  resistance 
than  the  groin  vault,  in  the  long  run  it  showed  less  vitality,  and 
entirely  passed  away  at  a  much  earlier  date. 

The   barrel  vault,   however,   produced   one   very   important 

'  Groin  vaults  persisted  in  exceptional  cases  even  in  the  Gotliic  period  as  at  Vernouillet 
(c.  1200.) 

=  At  Cemy  (c.  1100),  Catenoy  (c.  1110?),  Fontenoy  (c.  1110),  Bethisy-St.-Pierre  (c.  1125), 
Brasle  (c.  1100-30),  Resons-le-Long  (c.  1100"),  MaroUes  (c.  1125),  Pont-St.-Mard  (c.  1115), 
Conde-sur-Aisne  (c.  1125),  Oulchy-la-Ville  (c.  1125),  Courthiezy  (c.  1100-1125),  Vieils-Maisons 
(c.  1110),  Orrouy  (c.  1125).     Also  at  Elincourt  and  Trucy. 

^  Examples  of  barrel  vaults  erected  in  the  second  quarter  of  the  XII  century  may  be  found 
at  Coulonges  (c.  1130),  Bethisy-St.-Martin  (c.  1125-30),  at  Brecy  (c.  1150),  at  Damery  (c.  1150), 
at  Chelles  (c.  1140),  at  Vieil-Arcy  (c.  1130),  at  Sergy  (c.  1130),  at  St.-Vaast-de-Longmont  (c. 
1130),  at  St.  Lazare  (c.  1140),  at  Verdilly  (c.  1130),  at  Saconin  (c.  1135),  and  Blesmes  (c.  1130). 
Merlemont  and  Ricquebourg  are  also  barrel-vaulted. 

62 


THE   POINTED   ARCH 

effect  on  the  development  of  transitional  architecture,  for  it 
caused  the  pointed  arch  to  be  introduced.  It  is  not  necessary 
to  reiterate  in  this  connection  the  history  of  the  pointed  arch, 
if  by  the  name  of  history  may  be  designated  the  record  of  its 
sporadic  appearances  all  over  Europe,  Asia,  and  Africa.  Like 
the  lintel,  it  seems  to  have  been  so  obvious  an  expedient  as  to 
be,  as  it  were,  the  common  heritage  of  human  intelligence, 
easily  reinvented  by  any  builder  who  had  need  of  it.  Suffice 
it  to  say,  that  during  the  first  ten  centuries,  a.d.,  it  had  been 
practised  by  the  Persians  in  Asia  Minor,  by  the  Copts  in  Egypt, 
by  the  Arabs  in  Africa  and  Spain,  and  by  many  other  peoples  in 
many  other  countries.  As  early  as  the  middle  of  the  XI  cen- 
tury the  builders  of  the  south  of  France  were  regularly  employing 
it  to  diminish  the  thrusts  of  their  vaults;  and  when  Jerusalem 
fell  into  the  power  of  the  crusaders,  the  pointed  arch  had 
already  been  long  familiar  in  Burgundy  and  Perigord.' 

It  has  been  seen  that  the  pointed  arch  Avas  established  in 
the  barrel  vaults  of  the  school  of  Berry,  closely  related  to  the 
school  of  the  He  de  France,  by  the  last  decade  of  the  XI  century. 
Shortly  afterwards,  pointed  barrel  vaults  appeared  in  the  He 
de  France,  evidently  thence  derived.  It  is  altogether  probable 
that  the  rib  vaults  were  pointed  in  imitation  of  the  barrel  vaults, 
though  the  earliest  extant  examples  of  pointed  rib  vaults  seem 
about  contemporary  with  the  earliest  extant  barrel  vaults  .- 
The  structural  advantage  of  the  pointed  arch  is  even  more  ob- 
vious for  a  barrel  vault  than  for  a  rib  vault;  but  with  the  pointed 
arch  once  under  their  eyes,  the  builders  of  the  He  de  France 
were  not  slow  to  recognize  that  it  also  could  be  applied  with 
advantage  to  rib  vaults.     A  confirmation  of  this  view  is  found 

'  In  justice  to  the  older  school  of  archaeologists  who  maintained  the  Eastern  derivation  of 
the  pointed  arch,  it  should  be  stated  that  the  fact  that  this  construction  was  used  in  the  West 
before  the  Crusades  disproves  nothing.  Intercourse  with  the  East  by  pilgrimages  long  ante- 
dated the  Crusades;  and  the  domed  churches  of  the  Charente,  and  S.  ^larco  of  Venice  prove 
that  Western  builders  were  quite  capable  of  absorbing  Oriental  influences  through  this  contact. 
The  theory  of  the  Eastern  origin  of  the  pointed  arch  is,  consequently,  not  intrinsically  impos- 
sible. The  whole  controversy,  however,  is  not  worth  half  the  good  paper  and  ink  that  have 
been  wasted  upon  it,  to  the  exclusion  of  tlie  discussion  of  more  vital  aspects  of  the  transition.  It 
is,  moreover,  a  question  quite  incapable  of  proof,  one  way  or  the  other,  and  opinions  doubtless 
■nail  always  continue  to  diflfer. 

-  At  Vieils-Maisons  is  a  pointed  barrel  vault  of  c.  1110  —  I  believe,  the  earliest  example  of 
this  feature  in  the  He  de  France. 

63 


THE    TRANSITION 

in  the  earliest  example  of  the  pointed  arch  in  the  He  de  France 
that  is  known  to  us,  —  the  arch  under  the  tower  of  the  little 
church  at  Rieux,  near  Creil,  a  monument  probably  as  early  as 
the  end  of  the  XI  century.'  This  arch  could  not  have  been 
used  in  connection  with  a  rib  vault,  but  if  it  was  used  in  con- 
nection with  a  vault  at  all,  it  must  have  been  with  a  barrel 
vault. 

In  order  to  make  clear  the  extraordinary  importance  of  the 
relationship  of  the  pointed  arch  to  the  development  of  the  struc- 
ture of  the  rib  vault,  it  will  be  necessary  to  anticipate  here  events 
which  occurred  only  in  the  second  or  even  the  third  quarter  of 
the  XII  century.  It  seems,  however,  more  logical  to  treat  to- 
gether all  the  attempts  that  were  made  to  adjust  the  rib  vault 
to  an  oblong  plan,  even  at  the  sacrifice  of  strict  chronological 
sequence. 

Now  in  a  vault  like  that  at  Yiffort  (111.  159)  where  the  plan 
is  approximately  square,  it  is  possible  to  make  all  the  arches 
round  without  excessively  doming  the  crown  of  the  vault.  This 
vault  at  Yiffort  may  be  taken  as  the  type  of  the  earliest  rib  vaults, 
since  all  the  primitive  examples  are  constructed  on  plans  either 
square  or  nearly  so.  To  erect  vaults  of  this  type  was  compar- 
atively simple.  When,  however,  the  builders  came  to  con- 
struct rib  vaults  on  a  distinctly  oblong  plan  such  as  that  shown 
in  the  figure  (111.  160),  difficulties  ensued.  For,  if  all  the  arches 
were  made  semicircular,  it  was  found  that  the  diagonals  would 
rise  to  a  great  height;  the  wall  ribs  would  be  somewhat  lower; 
the  transverse  arches  very  low.  Thus  the  vault  surface,  forced 
to  adjust  itself  to  three  different  levels,  became  not  only  exces- 
sively domed,  but  actually  distorted. 

To  solve  this  problem,  the  builders  resorted  to  many  de^^ces 
of  great  ingenuity.-  Of  these,  the  pointed  arch  was  the  first 
and  the  most  important.  It  is  obvious  that  by  means  of  the 
pointed  form  an  arch  of  any  width  can  be  made  to  rise  to 
any  reasonable  height  without  distortion.  This  is  illustrated 
by  the  diagram  (111.  160).     Consequently,  by  pointing  the  trans- 

'  Lefevre-Pontalis,  Arch.  Rel.  I,  46. 

-  This  important  phase  of  the  transitional  movement  has  been  capitally  worked  up  by  Mr. 
Moore  in  his  Gothic  Architecture. 

64 


ADVANTAGES   OF   THE   POINTED   ARCH 


verse   and  wall   arches,    the   crowns   of   all   the  ribs   could   be 
brought  to  the  same   level. 

Although  this  principle  seems  so  obvious  to  us  to-day,  it 
cost  the  builders  of  the  He  de  France  —  even  after  they  had 
begun  to  perceive  dimly  the  possibilities  of  the  construction  — 
at  least  thirty  years  of  groping  experiment  to  bring  the  solution 
to  its  ultimate  perfection.  The  builders  of  these  early  times 
worked  from  practical  experience  and  not  on  paper;  and  thus, 
while  at  an  early  date   the   pointed   arch  was   applied   to  rib 


III.  160.  —  Diagram  of  Rib  Vault  on  an  Oblong  Plan 

vaults,  especially  in  the  transverse  and  longitudinal  arches, 
this  was  always  done  in  a  hesitating  and  partial  manner;  the 
vault  still  remained  domed,  and  the  round  arch  was  retained 
wherever  possible.  The  masons  at  first  had  clearly  no  idea  of 
what  could  be  done  by  means  of  the  pointed  construction;  they 
employed  it  only  as  a  sort  of  make-shift,  in  places  where  no 
amount  of  cramping  could  make  a  round  arch  do  service. 

At  the  same  time  that  they  were  experimenting  thus  with 
the  pointed  arch,  the  builders  of  the  He  de  France  were  also 
trying  other  expedients  to  avoid  excessive  doming.  In  fact, 
the  continual  efforts  to  obviate  this  doming  are  a  conclusive 

65 


THE   TRANSITION 

proof  that  the  raising  of  the  crowns  of  the  diagonals  in  this 
early  period  resulted  not  from  a  desire  to  ease  the  weight  in- 
trusted to  them,  but  from  lack  of  skill  on  the  part  of  the  con- 
structors. Thus  at  Bethisy-St. -Pierre  (111.  161)  a  monument 
dating  from  c.  1125,  the  curve  of  the  diagonals  was  lowered, 
being  made  an  ellipse,  or  rather  a  segment  of  a  circle,  instead 
of  a  semicircle.     But  the  tracing  of  this  irregular  curve  seems 


III.  161.  — Rib  Vault  at  Bethisv-St.-Pierre 


to  have  given  the  entire  vault  a  distorted  appearance,  for  the 
builders  of  this  time  lacked  the  technique  to  construct  segmen- 
tal diagonals  accurately.  Better  solutions  were  found,  and 
this  scheme  was  in  consequence  before  long  abandoned. 

More  promising  was  the  idea  of  stilting  the  transverse  ribs 
(111.  162)  and  by  this  means  bringing  their  crowns  to  the  desired 
level,  —  a  scheme  which  was  tried  at  Morienval  (c.  1122)  and 
at  St.  Etienne  of  Beauvais  (c.  1130).  The  idea  was  perfectly 
practicable,  and  could  be  applied  to  a  pointed  arch  as  well  as 
to  a  round  one,  and  to  the  wall,  as  well  as  to  the  transverse  rib. 
In   fact,   this   construction  was   ever   afterwards   retained,   and 

66 


III.    lfi'2.  —  St.  Etienne  of  Beauvais.      Interior 


INCREASED   USE   OF   THE    POINTED   ARCH 

the  stilted  wall  rib  became  in  the  end  one  of  the  essential  char- 
acteristics of  the  developed  Gothic  vault. 

A  strange  expedient  was  that  adopted  at  Bury  (c.  1125) 
and  St.  Leu  d'Esserent  (c.  1150),  whei'e  the  transverse  rib  was 
loaded  with  a  wall  of  masonry  in  order  to  bring  it  up  to  the 
required  level.  This  method  will  be  clear  by  reference  to  the 
photograph  (111.  163).  Such  a  construction  well  illustrates 
both  the  resourcefulness  of  the  XII  century  builders  and  their 
unswerving  perserverance.  It  is  almost  unnecessary  to  state 
that  this  crude  expedient  was  so  evidently  unsuccessful  that  it 
was  at  once  abandoned. 

After  many  such  expei'iments  and  a  considerable  number 
of  failures,  the  builders  at  last  learned  to  adopt  and  combine 
several  methods  of  construction,  so  as  to  erect  rib  vaults  on  an 
oblong  plan  with  perfect  success.  In  the  end,  the  relative 
heights  of  the  different  ribs  were  adjusted  by  a  combination 
of  stilted  and  pointed  arches.  This  ultimate  solution  was  much 
advanced  by  the  improvements  in  the  technique  of  stereotomy 
that  were  scored  during  the  second  quarter  of  the  XII  century. 
In  fact,  a  surface  of  double  curvature,  like  the  face  of  a  rib 
vault,  offers  the  greatest  difficulties  of  stone-cutting;  but  so 
proficient  did  the  French  workmen  become  in  this  art,  that 
never,  except  in  ancient  Greece,  has  finer  masonry  been  con- 
structed than  in  the  buildings  of  the  He  de  France  of  the  second 
half  of  the  XII  century.  With  the  mastery  of  stereotomy  came 
the  skill  to  construct  the  vaults  of  light  and  thin  masonry;  thus 
the  excessive  weight  and  thrust  of  the  early  vaults  was  diminished, 
and  grace  and  lightness  came  to  supersede  the  ponderous  cru- 
dity of  the  constructions  of  the  eai'ly  transitional  period. 

Side  by  side  with  the  general  advance  in  the  technical  exe- 
cution of  the  rib  vault,  and  inseparably  connected  with  it,  came 
the  more  and  more  systematic  use  of  the  pointed  arch  in  other 
parts  of  the  edifice,  as  well  as  in  the  vaults.  The  progress  of 
the  pointed  arch  was  not  altogether  constant;  it  is  possible  to 
find  later  buildings  in  Avhich  it  is  employed  less  profusely  than 
in  the  earlier  ones.  Nor  is  it  safe  to  lay  down  didactic  rules 
as  to  just  what  date  it  appeared  in  particular  positions.  It  is 
none  the  less  clear,  however,  that  throughout  the  transitional 

67 


THE   TRANSITION 

period  the  pointed  arch  was  constantly  gaining  ground  and 
slowly  but  surely  superseding  the  semicircular  form  in  all  parts 
of  the  edifice. 

One  of  the  direct  consequences  of  the  use  of  the  pointed 
arch  in  connection  with  the  rib  vault  in  the  aisles,  was  the  point- 
ing of  the  arches  of  the  main  arcade.  Since  these  arches  ordi- 
narily formed  a  highly  important  member  of  the  structural 
system  of  the  vault,  it  became  so  habitual  to  point  them,  that, 
after  c.  1135,^  this  was  almost  always  done  even  when  the  nave 
and  aisles  were  both  roofed  in  wood,  and  hence,  strictly  speak- 
ing, when  there  was  no  structural  necessity  for  the  pointed 
arch. 

This  is  the  turning-point  in  the  history  of  the  application 
of  the  pointed  form  of  arch:  hitherto  it  had  been  used  only  as 
a  structural  necessity,  the  round  arch  had  usually  been  em- 
ployed whei'ever  possible;  but  hereafter  the  pointed  arch  came 
to  be  used  —  rarely  at  first,  but  more  and  more  frequently  — 
in  places  where  the  round  arch  would  have  answered  all  prac- 
tical purposes  quite  as  well.  The  earliest  instance  of  this  non- 
structural use  of  the  pointed  arch  that  I  can  name  is  the  portal 
of  Cerseuil  (c.  1125) — an  example,  however,  which  is  excep- 
tionally early.  Generally  speaking,  pointed  doorways  and  win- 
dows came  into  general  use  only  in  the  last  third  of  the  XII 
century,  and  the  round  arch  frequently  persisted  even  into  the 
Gothic  period.  So  quick  were  the  Gothic  builders  to  accept 
a  new  idea  where  structurally  necessary,  and  so  reluctant  to 
abandon  tradition  for  esthetic  motives  until  the  new  way  had 
been  clearly  proved  the  better. 

We  must  now  return  from  a  somewhat  long  digression  to 
the  study  of  the  development  of  the  rib  vault  in  the  first  quarter 
of  the  XII  century.  It  has  been  seen  that  as  early  as  the  year 
1120,  by  means  of  the  pointed  arch,  a  certain  crude  mastery 
had  already  been  obtained  over  the  rib  vault  on  a  square,  and 
probably  also  on  an  oblong,  plan  —  a  mastery  very  far  short 
of  perfection,  it  is  true,  but  which  still  made  possible  the  con- 
struction of  these  vaults  in  a  rude  manner,  and  on  a  small  scale. 
But  in  the  choir  of  the  abbey  church  of  Morienval  —  a  monu- 

'  e,  g.  at  Laffaux. 
68 


111.  163.  —  Narthex  of  St.  Leu  cl'Esserent 


MORIENVAL 

ment  of  which  the  date  has  been  endlessly  controverted,'  but 
which  I  beheve  may  be  assigned  to  about  1122 — was  intro- 
duced a  new  feature  hitherto  quite  without  parallel  in  the  archi- 
tecture of  the  He  de  France. 

Up  to  this  moment  the  churches  of  the  XII  century  in  the 
royal  domain  had  shown  only  minor  variations  in  plan  from 
those  of  the  XI  century  —  single-aisled  edifices,  it  is  true,  had 
now  become  the  exception,  and  lateral  apses  and  transeptal 
absidioles  were  gradually  passing  out  of  use,  although  all  these 
XI  century  features  occasionally  survived  even  into  the  Gothic 
period.  But  the  choir  of  Morienval,  as  rebuilt  in  the  XII 
century,  was  a  true  innovation.  The  plan  (111.  164)  will  make 
the  dispositions  of  this  exceptional  construction  clear.  It  is 
usual  to  speak  of  this  choir  as  a  chevet;  yet  the  circular  ex- 
terior aisle  was  obviously  never  intended  as  a  passage-way,  for, 
since  the  open  space  beneath  the  transverse  arches  is  only  a 
foot  or  so  wide  and  since  this  so-called  ambulatory  is  blocked 
off  at  both  ends  by  towers,  it  never  could  have  served,  let  alone 
for  stately  processions,  even  for  passage,  but  must  have  been 
built  simply  to  furnish  space  for  four  additional  altars.  In 
fact,  it  is  known  that  in  1122  the  abbey  obtained  certain  pre- 
cious relics,  and  in  all  probability  this  so-called  ambulatory 
was  erected  with  a  view  to  providing  space  in  which  these  relics 
might  be  displayed.  In  a  structure  of  such  small  size  it  was  nat- 
ural there  should  be  no  radiating  chapels. 

The  interest  of  this  ambulatory  centers  in  the  fact  that  its 
four  bays  are  rib-vaulted.  Now  the  problem  of  vaulting  a 
semicircular  aisle,  especially  with  rib  vaults,  is  never  an  easy 
one;  and  at  Morienval  the  awkward  shape  of  the  vaulting  com- 
partments, which  are  extremely  long  in  proportion  to  their 
width,  and  the  inexperience  of  the  builders,  greatly  increased 
the  difficulty. 

Precedents,  as  far  as  we  can  now  tell,  there  were  none.  The 
Romans,  or  rather  the  Early  Christians,  it  will  be  remembered, 

'  See  list  of  monuments,  p.  13,  for  a  brief  discussion.  It  maj'  appear  illogical  to  accept 
so  early  a  date  as  c.  1125  for  Bellefontaine,  while  considering  Morienval  as  late  as  c.  1122,  for 
the  decoration  of  the  former  certainly  shows  a  great  advance.  See,  however,  what  has  been 
said  above,  p.  54. 

69 


THE   TRANSITION 

had  vaulted  circular  aisles  by  springing  a  barrel  vault  from 
above  the  crowns  of  the  arches  of  the  main  arcades  (III.  44, 
Vol.  I) ;  at  Aix-la-Chapelle,  the  Carolingians  had  ingeniously 
doubled  the  number  of  supports  in  the  outer  wall,  thus  dividing 
the  space  to  be  vaulted  by  transverse  arches  into  a  series  of 
compartments  alternately  square  and  triangular  and  easily 
covered  with  groin  vaults  (111.  85,  86,  Vol.  I),  a  device  later 
adopted  by  the  Gothic  architects.'  Broken  annular  groin  vaults 
occur  in  Lombardy  in  the  baptisteries  of  Almeno  and  Arsago, 
and  in  Auvergne;  in  the  XI  century,  ambulatories  had  been 
vaulted  with  interpenetrating  groin  vaults.  But  none  of  these 
precedents,  even  had  they  been  known,  touched  the  funda- 
mental difficulties  that  confronted  the  builders  of  Morienval. 

To  realize  just  what  the  problem  was,  imagine  a  vault  on 
a  plan  similar  to  Morienval  constructed  in  a  manner  that  would 
be  natural  to  buildei-s  having  had  experience  with  rib  vaults 
only  on  a  square  plan.  The  size  of  the  compartment  may  be 
taken  as  illustrated  in  the  diagram  (111.  165),  by  the  lines  ab, 
be,  cd,  and  da.  First  of  all  construct  the  diagonals  ac  and  bd. 
It  is  evident  that  these  will  intersect  at  the  point  e.  But  the 
point  e  coincides  with  neither  the  points  g  and  h,  marking  the 
crowns  of  the  diagonals,  nor  with  j,  the  center  of  the  vault. 
That  is,  these  ribs  instead  of  having  a  common  keystone  at  the 
center  of  the  vault,  will  merely  intersect  each  other  at  a  point 
near  their  springing.  Nor  is  this  the  end  of  the  difficulty.  The 
four  vault  compartments,  w,  x,  y,  z,  offer  surfaces  of  very  differ- 
ent sizes  and  awkward  shapes.  It  would  be  well-nigh  impos- 
sible to  construct  with  stability  a  vault  resting  on  such  erratic 
ribs,  and  covering  such  awkward  fields.  How  disastrous  the 
distortions  that  would  necessarily  result,  would  be  from  an 
esthetic  point  of  view,  may  be  readily  imagined. 

Even  greater  difficulties  were  caused  by  the  construction 
of  the  wall  ribs.  Supposing  the  diagonals  and  transverse  ribs 
in  place,  let  us  proceed  to  the  construction  of  the  wall  arch,  ab, 

1  The  most  notable  instance  is  at  St.  Martin  d'Etampes,  c.  1160.  But  here  the  four-sided 
compartments  are  trapezoidal  instead  of  being  perfectly  rectangular.  Hence,  the  diagonals, 
which  are  straight  in  plan,  do  not  intersect  on  the  ridge.  This  is  well  illustrated  in  the  Bulletin 
Monumental  for  1905,  p.  247. 

70 


III.   16-i.  —  Plan  of  Morienval 


RIB  VAULTS  ON  A  CURVED  PLAN 

and  the  arch  of  the  main  arcade,  dc.  It  is  evident  that  the 
three  arches  ad,  ah,  dc,  and  ac  all  have  bases  of  varying  length. 
Consequently,  if  they  were  constructed  with  a  semicircular 
radius,  they  would  all  rise  to  the  varying  heights  shown  in  the 
diagram.  The  impossibility  of  adjusting  a  vault  surface  to 
all  these  different  altitudes  is  perfectly  evident;  it  is  only  neces- 
sary to  imagine  the  pitch  of  the  transverse  ridge,  Ip,  which  is 


d      P     c 

III.  165.  —  Diagram  ot  Rib  Vault  on  a  Curved  Oblong  Plan 

mathematically  worked  out  in  the  oblique  line,  ml,  to  realize  how 
bizarre  this  construction  would  be. 

Still  another  trouble  is  to  be  found  in  the  longitudinal  ridge 
of  the  vault.  This  should  be  concentric  with  the  walls  of  the 
ambulatory,  and  lie  in  the  center  of  the  vault;  in  other  words, 
in  the  line,  fji.  But  the  crowns  {g,  h)  of  the  diagonal  ribs  do  not 
lie  in  this  line.  Therefore  the  ridge  of  the  vault  would  be  forced 
to  run  in  a  straight  or  broken  line,  fghi,  quite  unsymmetrical  with 
the  plan  of  the  ambulatory. 

71 


THE   TRANSITION 

Enough  has  been  said  to  show  how  complicated  was  the 
problem  which  confronted  the  builders  of  Morienval.  How- 
ever, they  proved  equal  to  the  situation,  and  by  the  application 
of  that  inexorable  spirit  of  logic  which  was  to  become  the  watch- 
word of  Gothic  progress,  they  constructed  a  vault  —  far  from 
perfect,  it  is  true,  —  but  one  that  has  stood  for  nearly  eight 
hundred  years,  and  one  which  provided  a  solid  foundation  for 
the  achievements  of  their  successors. 

First  of  all,  by  redoubled  orders,  they  built  out  the  responds 
at  a  and  b  (111.  165,  Fig.  2),  and  contracted  those  at  d  and  c, 
so  that  the  central  points,  /  and  i,  of  the  transverse  arches  fell 
considerably  inside  the  center  of  the  vault.  Then  the  diagonals, 
ac  and  bd,  were  built  on  a  plan  slightly  curved  (probably  as 
much  so  as  the  builders  dared  to  construct  them).  By  this 
means  the  ridge  passing  through  /,  g,  h,  and  i,  was  made  con- 
centric with  the  ambulatory,  though  not  placed  in  its  center. 
The  curving  in  plan  of  the  diagonals  brought  the  point  e  slightly 
nearer  to  the  center  of  the  vault.  Finally  the  arches  of  the  vari- 
ous ribs  were  made  to  rise  to  nearly  the  same  height  by  depress- 
ing the  wall  rib  ab,  and  stilting  or  pointing  the  transverse  rib 
and  the  arch  of  the  main  arcade. 

The  vault  of  Morienval,  as  completed,  is  far  from  elegant, 
but  it  is  of  priceless  value  in  demonstrating  the  logical  and 
thoughtful,  if  somewhat  groping,  manner  in  which  French  archi- 
tecture was  feeling  its  way  along  untrodden  paths.  The  prob- 
lems attacked  were  not  simple,  and  the  builders  lacked  skill 
and  technique.  But  by  dint  of  systematic  experiment  and 
perserverance,  not  one,  but  a  dozen  methods  were  found  for 
surmounting  each  obstacle.  Morienval  marks  a  distinct  epoch 
in  the  evolution  of  French  Gothic,  and  certainly  represents  the 
summit  of  achievement  in  the  first  quarter  of  the  XII  century. 

It  is  now  necessary  to  abandon  again  for  a  moment  strict 
chronological  sequence,  and,  before  taking  up  the  advance 
made  in  other  directions  by  the  monuments  built  directly  after 
Morienval  in  the  second  quarter  of  the  XII  century,  to  trace 
the  ultimate  solutions  found  for  the  problem  of  the  rib-vaulted 
ambulatory. 

For  at  least  ten  years  no  other  ambulatory  seems  to  have  been 

72 


III.  166.  —  Plan  of  Pontoise.     From  Ijcfevre-Pontalis 


AMBULATORY   VAULTS 

built  in  the  He  de  France,  or  at  least  none  has  come  down  to  us, 
and  when  ambulatories  do  appear,  they  are  found  rather  in 
the  region  to  the  westward,  where  they  often  continued  to  be 
groin-vaulted  ^  until  nearly  the  end  of  the  XII  century.  It  is 
probable  that  they  finally  made  their  way  into  the  eastern  dis- 
tricts of  the  He  de  France  from  this  direction.  At  all  events, 
probably  the  earliest  extant  rib-vaulted  example  after  Morienval 
is  found  at  Pontoise,  c.  1140.-  During  the  twenty  years  which 
had  elapsed  since  the  construction  of  Morienval,  great  advances 
had  been  made  in  the  technique  of  stereotomy;  and,  thanks  to 
this,  it  was  found  possible  at  Pontoise  to  construct  the  diagonals 
without  curving  them  in  plan.  Furthermore,  as  this  ambula- 
tory happened  to  be  supplied  with  semicircular  radiating  chapels, 
the  builders  hit  upon  the  device  of  consolidating  the  vault  of 
chapel  and  ambulatory  by  springing  a  fifth  rib  from  the  key- 
stone to  the  middle  of  the  outside  wall  of  the  chapel  (111.  166). 
By  this  means  the  vault  surface  was  divided  into  five  nearly 
equal  compartments. 

About  this  same  time  another,  and  final,  solution  was  found 
for  the  problem  of  the  ambulatory  vault.  An  early  example 
of  this  new  construction  occurs  in  the  cathedral  of  Sens  (111. 
168).  It  was  discovered  that  by  placing  the  keystone  in  the 
center  of  the  vaulting  compartment  and  by  springing  thence 
half  ribs  to  each  of  the  four  corners,  a  symmetrical  and  stable 
vault  could  be  erected.  Each  rib  thus  became  broken  in  the 
middle,  as  it  were,  and  was  no  longer  a  straight  continuous  arch 
uniting  the  opposite  corners  of  the  vaulting  compartment  (111. 
167).  These  broken  rib  vaults  were  adopted  as  the  final  type 
of  perfected  Gothic  ambulatory  vault.  By  their  use  all  undue 
twisting  and  distortion  of  surfaces  was  avoided;  in  short,  the 
solution  was  in  every  way  satisfactory.  When  the  double  am- 
bulatory of  St.  Denis  (111.  169)  was  erected  in  1140-44,  the 
inner  aisle  was  vaulted  with  a  broken  rib  vault  constructed 
much  more  skilfully  than  that  at  Sens,  and  the  outer  aisle 
was  vaulted  on  the  same  system  as  the  ambulatory  of  Pontoise. 
It  is  not  unlikely  that  St.  Denis  may  be  more  ancient  than 

'    e.  g.  Poissy  and  St.  Martin-des-Champs. 

=  There  is  much  controversy  as  to  whether  or  not  this  ambulatory  is  earlier  than  St.  Denis. 

73 


THE   TRANSITION 

either  Pontoise  or  Sens;  but  if  so,  it  is  probable  that  these  vault 
forms  were  discovered  in  some  other  edifice  now  lost  to  us,  for 
at  St.  Denis  the  technique  shows  none  of  that  timidity  and  hesi- 
tation which  almost  inevitably  characterized  a  first  attempt  at 
new  forms. 

About  the  same  time  that  the  intersection  of  the  diagonal 
ribs  was  being  thus  perfected,  means  were  found  to  bring  the 
crowns  of  the  ribs  all  to  about  the  same  height,  without  produc- 
ing  distortions.     After    Morienval,    owing   mainly   to    the   fact 


III.  167.  —  Diagram.     Broken  Rib  Vaults 

that  subsequent  ambulatories  were  all  erected  on  a  broader 
plan,  difiiculty  had  been  experienced  only  with  the  outside  wall 
rib.  Already  in  Romanesque  times,  if  the  restorers  of  the  nave 
of  Morienval  are  to  be  trusted,  the  experiment  had  been  tried 
of  springing  this  arch  from  a  lower  level  than  that  of  the  other 
ribs  (111.  155).  This  same  expedient  was  tried  at  Sens  (111. 
168),  and  also  at  Poissy  ^  and  St.  Denis.  Soon,  however,  the 
builders  acquired  sufficient  skill  to  adjust  all  their  arches  to 
the  required  level  by  pointing,  stilting,  and  depressing,  and  it 
became  no  longer  necessary  to  resort  to  this  device. 

Thus  after  c.  1140  the  principle  of  the  broken  rib  vault  was 
thoroughly  established,  and  the  problem  of  vaulting  the  am- 
bulatory had  been  mastered.  Occasionally,  it  is  true,  examples 
of  the  earlier  devices  appeared  long  after  this  time,  although 
usually  in  outlying  districts.     Thus  the  ribs  of  the  ambulatory 

'  The  aisles  of  Morienval  and  Poissy  were,  of  course,  groin-  not  rib-vaulted. 

74 


III.  108.  —  Ambulatory  of  Sens.     Perspective 


III.  169.  —  Plan  (restored)  of  St.  Denis.     (From  Dehio^ 


DEVELOPMENT   OF   THE   AMBULATORY 

of  Vezelay  were  perfectly  straight  in  plan;  and  the  idea  of 
curving  the  ribs,  as  first  essayed  at  Morienval,  was  developed 
at  St.  Germer,  and  carried  to  the  highest  perfection  in  the  fully 
Gothic  cathedral  of  Bourges  (111.  243).  But  even  when  applied 
with  all  the  skill  of  the  greatest  builders  of  the  XIII  century, 
the  curved  rib  offered  a  twisted  and  uncertain  appearance  and 
was  in  every  way  less  satisfactory  than  the  broken  rib. 

This  comparatively  early  mastery  of  the  complex  problem 
of  the  ambulatory  vault  was  of  the  greatest  importance  for  the 
development  of  Gothic  architecture,  for  the  ambulatory  was 
the  peculiar  glory  of  the  French  style  and  became  one  of  the  love- 
liest and  most  characteristic  features  of  the  French  Gothic 
cathedrals.  It  was  largely  by  wrestling  with,  and  overcoming, 
the  numerous  difiiculties  presented  by  this  construction  that 
the  Gothic  builders  acquired  the  skill  and  technique  by  which 
they  were  able  to  rise  to  the  heights  of  the  XIII  century.  Fur- 
thermore, many  of  the  most  beautiful  features  of  the  Gothic 
choir  were  evolved  as  a  direct  consequence  of  the  mastery  of 
the  ambulatory  vaults.  As  the  broken  rib  vault  came  to  be 
more  thoroughly  understood,  it  became  possible  to  increase  the 
size  and  importance  of  the  ambulatory.  This,  in  turn,  caused 
the  number  of  apsidal  chapels  to  be  made  gi'eater.  At  Mori- 
enval (c.  1122)  there  had  been  no  radiating  absidioles;  Poissy 
(c.  1135)  and  Sens  (c.  1135)  each  had  one;  but  Pontoise  and 
St.  Denis  had  five.  Later  these  chapels  were  also  increased 
in  size  until  they  gradually  came  to  occupy  all  the  space  between 
the  buttresses;  and  instead  of  being  semicircular  "in  plan,  they 
often  (at  least  in  the  easternmost  or  lady  chapel)  consisted  of 
two  straight  bays  followed  by  a  polygonal  apse.  Similarly  the 
choir  itself  came  to  be  much  prolonged.  Semicircular  at  Morien- 
val (111.  164),  and  Pontoise  (111.  166),  it  was  lengthened  at 
Poissy  and  St.  Denis  (111.  169);  at  Noyon  (111.  176)  it  included 
three  straight  bays;  and  in  1163  at  Paris  (111.  241)  the  Gothic 
choir  reached  its  full  glorious  development.  Similarly  at  St. 
Martin-des- Champs  (c.  1135)  the  aisles  of  the  ambulatory  were 
doubled  as  far  as  the  beginning  of  the  radiating  chapels;  but 
at  St.  Denis  (111.  169),  for  the  first  time,  a  double  ambulatory 
was  carried  completely  around  the  choir. 

75 


THE   TRANSITION 

All  this  has  taken  us  far  afield  from  the  groping  efforts  of 
the  second  quarter  of  the  XII  century,  and  it  is  time  to  return 
to  the  study  of  the  vaults  erected  immediately  after  Morienval. 
Not  content  with  the  problem  of  the  ambulatory  vault,  the 
builders  of  the  second  quarter  of  the  XII  century  immediately 
broached  a  new  problem  almost  equally  important.  Up  to 
this  moment  rib  vaults  had  been  attempted  only  over  narrow 
areas,  such  as  side  aisles,  or,  when  they  had  been  erected  over 
choirs  or  crossings,  these  had  always  been  of  restrained  dimen- 
sions, and  generally  surmounted  by  a  tower,  which  by  its  down- 
ward weight  more  than  neutralized  any  thrust  of  the  vault. 
But  from  c.  1125  vaults  came  to  be  thrown  across  the  nave.' 

It  is  difiicult  to  say  to  which  of  several  monuments  should 
be  given  the  honor  of  being  the  earliest  rib-vaulted  nave  known. 
The  nave  of  Airaines,  M.  Enlart  believes,  is  even  earlier  than 
c.  1125,  although  the  authenticity  of  this  early  date,  I  confess, 
seems  to  me  more  than  questionable.  Of  about  1125,  however, 
must  be  the  vaulted  naves  of  Bury,  Bellefontaine,  and  St.-Vaast- 
les-Mello;  St.  Etienne  of  Beauvais  followed  c.  1130;  Villetertre 
and  Poissy  may  be  assigned  to  c.  1135;  and  the  vaulted  naves 
of  Acy-en-Multien,  Cambronne,  Foulangues,  Fay-St.-Quentin, 
St.  Evremond  of  Creil,  St.  Germer,  and  Chars  were  erected, 
most  of  them  before  1140,  and  all  before  the  innovations  wrought 
at  St.  Denis  had  impressed  themselves  on  the  architecture  of 
the  surrounding  country. 

A  study  of  these  vaults  shows  that  the  earliest  ones  —  Air- 
aines, Bellefontaine,  Bury  —  were  built  upon  a  plan  nearly,  if 
not  quite,  square.  It  was  natural  enough  that  builders  who 
were  struggling  so  laboriously  with  the  problem  of  the  rib  vault 
on  an  oblong  plan  in  the  aisles,  should  not  attempt  this  con- 
struction in  the  far  more  difficult  nave  vaults.  The  system  em- 
ployed at  Bellefontaine  is  thoroughly  Lombard;  two  square 
bays  in  the  aisles  equal  one  square  compartment  in  the  nave. 
At  Airaines  the  rib  vaults  of  the  nave  are  still  square,  but  since 
the  aisle  compartments  are  as  long  as  those  of  the  nave,  they  are 
necessarily  very  oblong.       The  builders  seem  to  have  hesitated 

"  It  is  remarkable  that  in  the  diocese  of  Soissons,  in  many  respects  the  center  of  the  tran- 
sitional movement,  naves  came  to  be  vaulted  later  than  in  the  neighboring  sub-schools. 

76 


VAULTED    NAVES 

to  construct  a  rib  vault  over  a  space  so  excessively  long  in  pro- 
portion to  its  width,  and  consequently  employed  groin  vaults 
in  these  aisles.  However,  at  Bury,  where  precisely  this  same 
problem  existed,  the  rib-vaulted  nave  being  divided  into  square 
compartments,  and  the  aisle  compartments  being  consequently 
oblong,  the  rib  vault  was  courageously  attempted  even  in  the 
aisles.  How  sorely  the  builders  of  Bury  were  perplexed  by  this 
problem  of  construction  is  shown  by  the  fact  that  they  were 
forced  to  adopt  the  desperate  expedient  of  loading  the  trans- 
verse arch  —  a  strange  make-shift  we  have  already  described. 
Nevertheless  sufficient  experience  seems  to  have  been  gained 
by  such  experiments  to  make  it  possible  by  c.  1130,  to  entirely 
cover  the  large  nave  of  St.  Etienne  of  Beauvais  with  oblong  rib 
vaults. 

These  vaults  of  St.  Etienne  of  Beauvais  unfortunately  have 
not  survived,  although  it  is  clear  from  the  section  of  the  piers 
that  such  vaults  were  intended.  It  is  even  possible  that  the 
vaults  were  not  actually  executed  at  this  time.  The  fact,  how- 
ever, that  the  builders  of  c.  1130  felt  themselves  strong  enough 
to  undertake  so  difficult  a  feat  is  of  the  greatest  significance, 
and  we  would  give  a  great  deal  to  know  with  what  measure  of 
success  they  carried  out  so  ambitious  a  project. 

At  all  events,  there  can  be  no  doubt  that  by  this  time  the 
rib  vault  on  an  oblong  plan  was  thoroughly  understood,  and  if 
it  had  not  already  been  applied  with  absolute  success  to  large 
naves,  it  was  only  a  question  of-  a  short  time  and  a  few 
experiments  before  it  would  be.  But  just  now  a  strange  and 
unaccountable  event  occurred,  an  event  without  parallel  in  the 
history  of  the  transition.  With  success  within  easy  reach, 
almost  under  their  hand,  the  builders  turned  from  so  promising 
a  beginning  to  adopt  an  entirely  foreign  form  —  the  sexpartite 
vault  of  Normandy.  The  oblong  quadripartite  form  was 
practically  abandoned  in  the  naves  for  the  space  of  half  a  cen- 
tury; but  at  the  end  of  that  time  the  Gothic  builders,  with  equal 
suddenness,  seem  to  have  realized  its  superior  advantages,  and 
abandoning  in  turn  the  Norman  form,  carried  their  own  quadri- 
partite type  to  its  logical  and  triumphant  conclusion. 

It  should  be  noticed,  before  leaving  for  the  present  the  sub- 

77 


THE   TRANSITION 

ject  of  nave  vaults,  that  these  early  quadripartite  vaults  of  the 
He  de  France  depended  entirely  on  the  inertia  of  the  walls  for 
their  stability;  and  as  the  construction  at  this  time  was  still 
heavy,  the  powerful  thrust  exercised  by  these  vaults  necessi- 
tated very  thick  and  ponderous  walls. 

^Vliile  the  nave  vault  was  being  developed,  improvements 
were  simultaneously  being  made  in  the  vaulting  of  choirs  and 
apses.  The  apse,  it  will  be  remembered,  had  since  the  days  of 
the  Romans  been  invariably  supplied  with  a  half -dome.  No 
part  of  the  church  construction  was  more  sanctified  by  tradition. 
This  half-dome  had  sometimes  been  pointed  to  harmonize  with 
a  pointed  barrel  vault,  but  until  the  XII  century  no  other  change 
had  ever  been  wrought.  A  semicircular  apse  had  always  been 
covered  with  a  half -dome.  But,  when  the  builders  of  the  sec- 
ond quarter  of  the  XII  century  came  to  place  rib  vaults  over 
their  choirs,  they  found  that  the  half-dome  of  the  apse  harmo- 
nized badly  with  the  new  style  of  vault.  They  accordingly  con- 
ceived the  idea  of  placing  two  ribs  underneath  this  half-dome, 
radiating  from  the  keystone  of  the  triumphal  arch.  These 
ribs  in  no  way  supported  the  dome,  but  must  be  considered 
merely  as  an  ornamental  addition   (111.  171). 

Such  a  ribbed  half-dome  originally  existed  in  the  choir  of 
Morienval  (c.  1122),  a  structure  which,  however,  has  subse- 
quently been  rebuilt,  so  that  the  apse  of  Bury  (c.  1125)  offers 
probably  the  most  ancient  surviving  example  of  this  construc- 
tion. The  earliest  instance  extant  in  the  Soissonnais  is  the  apse 
of  Vauxrezis  (111.  171),  a  monument  of  c.  1130.  Other  examples 
about  contemporary  exist  at  Bruyeres-sur-Fere  and  Pernant; 
and  in  the  years  immediately  following  it  became  a  very 
favorite  construction,  as  is  witnessed  by  numerous  examples  at 
Berzy-le-Sec  (c.  1140),  Chelles  (c.  1140),  Laffaux  (c.  1140), 
Nouvron-Vingre  (c.  1140),  Frouville,  Trucy  (c.  1150),  Bonnes 
(c.  1150),  and  elsewhere.  It  survived  as  late  as  c.  1160  at 
Courmelles  or  even  c.  1170  at  Vailly. 

The  lady  chapel  of  St.  Martin-des-Champs  (c.  1135)  at 
Paris  shows  a  notable  development  of  this  idea.  In  fact,  the 
chevet  of  this  church  with  its  important  structural  advances, 
shows    that   the  western  school   has  entered  the  arena  of  the 

78 


III.  171.  —  Ribbed  Half-Dome  of  Vauxrezis.     (Redrawn  from  Lefevre-Pontalis) 


III.  172.  —  Lobed  Half-Dome  of  St.  Martin  des  Champs,  Paris 


THE   CHEVET   VAULT 

transition  as  an  active  and  formative  member.  The  apse  of 
the  lady  chapel  (111.  172)  is  trilobed,  and  the  ribs  are  no  longer 
purely  decorative,  but  have  really  become  structural  members, 
since  they  are  made  to  carry  the  three  compartments  of  the  vault 
which  bulge  upwards  from  them.  The  step  to  the  fully  devel- 
oped chevet  vault  with  ribs  completely  structural  was  an  easy 
one,  and  was  perhaps  taken  at  Largny  (c.  1140),  or  in  the  chevet 
of  St.  Germer  (111.  173),  which  is  of  about  the  same  date.  A 
completely  logical  rib  vault  had  now  been  evolved  to  replace 
the  old  half-dome,  although  many  adjustments  and  perfections 
still  remained  to  be  made. 

The  chevet  vault,  as  thus  evolved  in  the  apse,  was  immediately 
applied  to  the  choirs  of  churches  with  ambulatory,  which  indeed 
offered  precisely  the  same  problem  on  a  slightly  larger  scale. 
An  immediate  consequence  of  the  introduction  of  the  chevet 
vault  in  this  position  was  the  stilting  of  the  wall  rib.  The 
width  of  the  bays  in  the  chevet  was  always  less  than  in  the 
straight  portions  of  the  church.  \Miere  the  ambulatory  ex- 
isted, this  was  necessary  in  order  to  avoid  making  the  outer 
wall  arch  of  the  ambulatory  vault  unduly  wide,  and  in  simple 
apses  esthetic  reasons  seem  to  have  led  to  the  same  result.  Now 
from  such  narrow  bays,  to  raise  the  crown  of  the  narrow  wall 
arch  to  the  same  level  as  the  crown  of  the  greatly  wider  transverse 
arch,  there  was  need  not  only  of  pointing,  but  also  of  stilting. 
Thus  the  wall  arch  in  the  chevet  came  to  be  always  highly 
stilted,  and  so  generated  those  singularly  graceful  twisted  sur- 
faces that  characterize  the  developed  Gothic  chevet  vault 
(111.  173). 

Stilting  the  wall  rib,  indeed,  was  no  new  idea,  and  had  been 
employed  in  connection  with  vaults  on  a  rectangular  plan  as 
early  as  c.  1125  at  Dhuizel  and  elsewhere.  In  the  fully  devel- 
oped Gothic,  this  construction  was  destined  to  become  one  of 
the  most  typical  and  strongly  accentuated  characteristics,  not 
only  of  the  chevet  vaults,  but  of  the  nave  vaults  as  well,  and 
more  than  any  other  single  feature  to  give  rise  to  the  peculiar 
form  of  the  French  Gothic  vault.  Furthermore,  it  was  through 
this  stilting  that  the  structural  usefulness  of  the  wall  rib  in  de- 
termining the  form  and  shape  of  the  vault  was  first  fully  demon- 

79 


THE   TRANSITION 

strated.  From  the  moment  when  it  became  usual  to  stilt  the 
wall  rib,  this  member  was  seldom  omitted. 

There  seems,  therefore,  no  reason  to  doubt  that  the  wall 
rib  was  stilted  in  the  nave  for  the  same  reason  that  it  was  stilted 
in  the  chevet,  i.e.,  to  raise  it  to  the  desired  level.  Mr.  Moore,^ 
however,  believes  that  this  rib  was  stilted  in  order  to  concen- 
trate thrusts.  If  the  wall  ribs  be  stilted,  it  is  obvious  that  the 
thrust  of  the  vault  will  be  brought  to  bear  on  a  much  smaller 
portion  of  the  outside  wall,  than  if  the  wall  ribs  be  not  stilted, 
since  the  conoid  formed  by  the  five  converging  ribs  is  much 
narrower  in  the  first  case  than  in  the  second.  Thus  by  stilting 
the  wall  rib,  the  entire  thrust  of  the  vault  is  gathered  on  a  single 
vertical  line,  where  it  can  easily  be  neutralized  by  a  flying  but- 
tress. No  single  feature  was,  therefore,  more  essential  to  the 
stability  of  the  Gothic  skeleton  structure  than  this  same  stilted 
Avail  rib.  I  believe,  however,  that  Mr.  Moore,  is  mistaken  in 
thinking  that  stilted  Avail  ribs  were  developed  in  order  to  meet 
this  structural  necessity.  Historical  evidence  shows  that  this 
stilting,  which  later  became  so  integral  a  part  of  the  structure  of 
the  building,  grew  up  long  before  the  flying  buttress  had  been 
dreamed  of,  and  was  developed  without  other  notion  of  structural 
importance  than  the  raising  of  the  crown  of  the  Avail  rib.  The 
apse  of  Largny,  for  example,  where  the  problem  of  buttressing 
could  as  yet  have  had  no  weight,  is  supplied  with  fully  stilted 
wall  ribs. 

A  direct  consequence  of  the  development  of  the  chevet 
vault  was  the  substitution  of  a  polygonal  for  a  semicircular 
plan  in  the  apses  and  chevets.  It  is  true  that  this  polygonal 
plan  had  appeared  sporadically  before  the  chevet  vault  was 
pei'fected.  Outside  the  limits  of  the  He  de  France  it  had 
already  been  employed  in  Limousin,  Velay,  Provence,  and  even 
Artois,  where  the  polygonal  apse  of  St.  Ulmer  of  Boulogne  is 
said  to  date  from  as  early  as  the  XI  century.  But  in  the  He 
de  France  itself  the  earliest  instance  known  is  the  church  of 
Coudun  (c.  1125),  whose  apse  is  polygonal  internally,  but  semi- 
circular externally.  At  Auvers,  however,  side  by  side  with  one 
of  the  earliest  examples  of  the  ribbed  half-dome  (c.  1131)  there 

1  Gothic  Architecture,  p.  133. 

80 


III.  173.  —  St.   Germer.     Interior 


POLYGONAL   APSES 


is  an  apse  polygonal  externally  (111.  174),  and  at  Ciry  is 
another  example  about  contemporaiy.  Nevertheless  it  was  only 
in  the  second  half  of  the  century  that  this  motive  became 
thoroughly  established.' 


III.   174.  —  Plan    of   Auvers.     (From  Arch,  de   la   Com.  des 
Mon.  Hist.) 

The  lack  of  enthusiasm  with  which  the  polygonal  apse  was  at 
first  received  must  be  attributed  to  the  strength  of  the  tradition 
that  the  east  end  of  the  church  should  be  semicircular,  for  the 

1  As  at  Azy-Bonneil,  Bussiares,  Chassemy,  Hautevesnes,  Marigny-en-Orxois,  Marisy-St.- 
Mard,  etc. 

81 


THE   TRANSITION 

polygonal  form  offered  great  advantages  over  the  older  type. 
Chief  among  these  was  the  fact  that  by  this  means  all  the  arches 
of  the  east  end  —  whether  of  the  main  arcades,  the  triforium, 
the  windows,  or  the  wall  ribs  —  could  be  built  upon  a  straight 
plan,  and  surfaces  of  double  curvature  thus  avoided.  The 
new  form  was  hence  at  once  both  easier  to  build  and  more 
satisfying  to  the  eye.  Yet,  in  the  large  churches  of  the  second 
half  of  the  transitional  period,  where  the  advantages  of  the  new 
system,  it  would  have  seemed,  were  most  obvious,  the  polygonal 
plan  was  never  adopted;  and  it  remained  for  the  Gothic  archi- 
tects to  translate  this  motive  from  the  apse  of  the  rustic  parish 
church  into  the  chevet  of  the  cathedral. 

One  further  change  was  wrought  in  the  construction  of  the 
chevet  vault,  largely  during  the  last  phase  of  the  transitional 
movement.  In  large  chevets,  with  five  or  more  bays  and  con- 
sequently as  many  radiating  ribs,  since  all  these  ribs  converged 
on  the  keystone  of  the  last  transverse  rib  and  since  all  exerted 
thrusts  in  similar  directions  upon  this  keystone  (111.  173,  175), 
the  stability  of  the  transverse  ribs  seems  to  have  been  somewhat 
compromised.  To  obviate  this,  the  principle  of  the  broken  rib 
vault,  as  developed  in  the  ambulatory,  was  applied  to  the  chevet 
in  the  form  shown  in  the  diagram  (111.  175).  The  thrust  of 
the  half  ribs,  a  and  h,  was  found  sufficient  to  neutralize  the  gen- 
erally opposite  thrusts  c,  d,  e,  and  /,  and  the  stability  of  the  vault 
was  thus  assured.  This  new  construction  is  called  the  radia- 
ting rib  vault,  and  a  good  example  of  its  application  may  be 
found  in  the  apsidal  chapels  of  the  cathedral  of  Noyon  (111.  176). 

This  same  principle  was  carried  one  step  further  in  the  chevet 
of  the  same  cathedral.  This  choir  was  originallv  vaulted  with 
the  sexpartite  system.  Therefore  the  semicircle  of  the  chevet 
was  joined  to  half  a  bay  of  the  sexpartite  system  (111.  176,  175, 
Fig.  4)  —  an  arrangement  which  gave  an  adjustment  perfectly 
satisfactory.  As  long  as  the  sexpartite  system  was  retained,  the 
choirs  continued  to  be  vaulted  in  this  manner.  With  the  re- 
turn to  the  quadripartite  vault  in  the  Gothic  period,  however, 
this  system  was  no  longer  practicable,  and  a  new  adjustment 
(111.  175,  Fig.  3)  was  invented.  The  chevet  was  prolonged 
beyond  a  semicircle  and  made  seven-sided,  and  the  keystone  of 

82 


III.  175.  —  Diagram  of  Chevet  Vaults 


CONVERGING   RIBS 

the  vault  was  placed,  not  exactly  in  the  center  of  the  polygon, 
but  in  such  a  position  that  all  the  ribs  became  approximately 
equal.  Thus  was  found  at  last  an  entirely  satisfactory  solu- 
tion to  the  problem. 

Mr.   Moore  *  has  suggested  another  theory  to  account  for 


III.  176.  —  Plan  of  Noyon.     (From  Dehio) 


the  abandonment  of  that  type  of  chevet  vault  which  is  charac- 
terized by  ribs  converging  on  the  keystone  of  the  last  transverse 
rib.  He  notes  that  in  St.  Germer  (111.  173)  the  diagonals  of  the 
last  bay  are  carried  on  corbels  and  not  on  shafts,  and  he 
remarks  that,  were  shafts  provided,  the  piers  x  and  y  would 


Gothic  Architecture,  p.  76. 
83 


THE   TRANSITION 

become  unsymmetrical,  there  being  nothing  to  the  eastward  to 
balance  the  diagonals.  Hence,  he  thinks,  the  later  forms  were 
invented  in  order  to  preserve  the  symmetrical  section  of  the  pier 
and  at  the  same  time  provide  shafts  for  every  rib.  I  find  it  diffi- 
cult to  admit,  however,  that  the  builders  of  this  time  would  even 
to  the  slightest  degree  sacrifice  construction  to  mere  formal 
symmetry.  Strangely  enough,  no  one  has  emphasized  this 
logical  character  of  transitional  architecture  more  effectively 
than  Mr.  Moore  himself,  who,  nevertheless,  abandons  his  own 
thesis  in  this  single  instance. 

Before  leaving  this  subject  of  the  chevet  vault  it  should  be 
noticed  that  vaults  of  this  character  were  occasionally  applied 
even  to  square  east  ends,  which  became  very  common  about 
this  time.  At  Ouideuil,  for  instance,  the  square  choir  is  cov- 
ered with  a  vault  of  five  converging  ribs.  Three  of  these  abut 
against  the  east  end  forming  a  true  chevet  vault,  although,  of 
course,  it  is  somewhat  distorted  by  the  very  different  lengths  of 
the  ribs. 


We  come  now  to  the  second  phase  of  the  transitional  move- 
ment. This  period,  into  which  we  have  already  made  many 
excursions,  is  closely  linked  with  the  preceding  forty  years;  on 
the  whole,  however,  the  erection  of  St.  Denis  marks  the  dawn 
of  a  new  epoch  with  a  far  sharper  distinction  than  any  which 
can  be  traced,  for  instance,  between  the  transitional  and  the 
Gothic  periods.  Perhaps,  after  all,  the  archaeologists  of  the  old 
school  did  not  make  a  mistake  in  calling  St.  Denis  the  first  of 
the  Gothic  monuments.  For  St.  Denis  marks  the  moment  when 
French  architecture  ceased  to  grope  obscurely  with  new  and 
strange  principles  in  out-of-the-way  country  churches,  and 
commenced  instead  to  apply  these  principles  on  a  grand  scale 
to  the  great  abbeys  and  cathedrals;  when  the  rib  vault,  instead 
of  being  an  experiment,  a  tentative  construction,  became  a 
triumphant  principle  destined  to  bend  all  Europe  to  its  sway; 
when  the  architecture  of  the  He  de  France  from  being  the  least 
conspicuous  school  of  the  Occident,  almost  at  a  bound  became 
the  leader  of  the  West,  imitated  and  copied  from  Cypress  to  the 

84 


III.  177.  —  Section  of  St.  Geriner 


III.  178.  —  St.  Quiriace  of  Provins.     Choir.     (From  Gurlitt) 


THE   SECOND   PHASE 

Orkneys,  from  Gibraltar  to  the  North  Sea.  History  knows  no 
parallel  to  the  sudden  flowering  of  this  lovely  art. 

Not  that,  necessarily,  no  large  buildings  wei'e  constructed 
before  1140  —  we  know  on  the  contrary  from  literary  sources 
that  the  reverse  was  the  case.  But  the  very  fact  that  to  a  later 
age  all  these  monuments  seemed  mean  and  unworthy,  and  so 
were  replaced,  while  a  whole  series  of  important  abbeys  and 
cathedrals  erected  after  1140  are  still  extant,  is  significant. 
Nor  should  it  be  understood  that  French  architecture  had  yet 
reached  its  zenith  —  many  problems  still  remained  unsolved 
and  even  unattempted;  much  crudity  and  lack  of  skill  still 
remained.  The  best  part  of  a  century  of  unceasing  develop- 
ment and  growth  lies  between  the  ambulatory  of  St.  Denis 
and  the  nave  of  Amiens.  Nevertheless,  the  year  1140  marks 
the  turning  of  the  tide.  From  this  moment  French  architecture 
was  conscious  of  its  destiny;  it  was  henceforth  only  a  ques- 
tion of  perfecting  principles  already  understood,  of  carrying 
to  their  logical  conclusion  ideas  already  successfully  applied  on 
a  small  scale.  And  the  medieval  builders  never  faltered  in  pur- 
suing to  its  goal  the  road  that  they  were  traveling.  They  rose 
from  triumph  to  triumph  still  more  lofty,  until  at  Amiens  they 
accomplished  the  utmost  possibility  of  human  achievement. 

The  abbey  of  St.  Denis  also  marks  the  flood  tide  of  mo- 
nastic influence  over  the  architecture  of  the  He  de  France.  Up 
to  this  moment,  whether  in  France  or  Normandy,  the  most 
important  monuments,  the  edifices  that  had  been  used  as  models 
for  the  humbler  churches,  had  almost  invariably  been  the  great 
abbey  churches.  But  after  1140  in  France  the  abbey  fell  under 
the  shadow  of  the  cathedral.  No  abbot  in  France  ever  again 
held  within  his  hands  the  destinies  of  architecture,  as  did  Suger 
at  St.  Denis.  The  torch  of  progress  was  passed  on  to  the 
bishops,  to  whom  was  given  the  actual  accomplishment  of  what 
the  monks  had  so  largely  made  possible. 

The  exact  relationship  of  the  abbey  of  St.  Denis  to  the  sud- 
den expansion  of  architecture,  which  took  place  in  the  He  de 
France,  c.  1140,  is  diflicult  to  determine.  Whether  it  was  that 
the  personal  force  of  Suger  and  the  genius  of  some  unknown 
master  builder  called  into  being   at   St.  Denis   a   work  far   in 

85 


THE   TRANSITION 

advance  of  its  time,  and  one  which,  like  Hagia  Sophia  or  Jumieges, 
immediately  impressed  its  form  on  the  buildings  of  the  sur- 
rounding country;  or  whether  the  advances  we  find  in  all  the 
buildings  of  the  He  de  France  of  about  this  time  are  merely 
the  result  of  a  sudden  stimulation  felt  throughout  the  school, 
and  not  directly  inspired  by  the  abbey  of  Suger,  has  been  much 
discussed.  The  extant  monuments  analogous  to,  and  nearly 
contemporary  with,  St.  Denis  —  such  as  the  western  portions 
of  the  cathedral  of  Chartres,  the  cathedrals  of  Sens  and  Noyon, 
the  abbey  of  St.  Germer  —  are  none  of  them  dated  with  suffi- 
cient exactness  to  make  it  possible  to  determine  the  question 
on  the  basis  of  chronology.  There  is,  however,  reason  to  be- 
lieve that  the  influence  of  St.  Denis  was  very  great.  For  it  is 
more  likely  that  the  Norman  influence,  Avhich  is  unmistakable 
at  St.  Denis,  should  have  radiated  thence  into  the  rest  of  the 
He  de  France,  than  that  the  whole  of  this  virile  and  active  school 
should  have  fallen  all  at  once  under  the  sway  of  foreign  models. 

This  Norman  influence  showed  itself  not  only  in  the  sex- 
partite  vault,  ^  —  significant  as  was  this  feature  —  but  in  other 
structural  peculiarities  almost  as  important:  the  concealed 
flying  buttress,  evolved  in  all  probability  at  the  Abbaye-aux- 
Dames,  appeared  at  precisely  this  moment  in  the  architecture  of 
the  He  de  France  (111.  177);  lanterns,  a  distinctly  Norman 
feature,  were  also  adopted  by  the  royal  school;  triforium  gal- 
leries, though  much  used  by  the  Carolingian  builders,  had  been 
practically  unknown  in  France  before  1140,  but  they  now  be- 
came well-nigh  universal  in  larger  edifices^  and  acquired  an  im- 
portance distinctly  recalling  the  developed  treatment  given  this 
feature  in  the  Abbaye-aux-Hommes,  Jumieges,  and  similar 
edifices;  finally,  the  interior  passage-ways  in  clearstory  and 
triforium  that  had  been  known  in  Normandy  from  the  third 
quarter  of  the  XI  century,  now  first  made  their  appearance  in 
the  He  de  France  (111.  177). 

It  is  easier  to  state  the  fact  of  this  Norman  influence  than 
to  explain  its  cause.  The  sexpartite  vault  seems  to  have  ex- 
ercised for  the  medieval  builders  a  strange  attraction.  The 
oblong  rib  vault,  which  was  understood  in  the  He  de  France  at 

1  See  p.  263,  Vol.  I.  -  Except  Sens  and  a  few  others. 

86 


III.   179.  —  Sens.     Interior 


SEXPARTITE   VAULTS 

this  period,  was  structurally  and  artistically  preferable  in  every 
way,  as  the  Gothic  artists  a  little  later  were  not  slow  to  recog- 
nize. Yet  the  builders  of  the  XII  century  deliberately  discarded 
it  in  favor  of  the  sexpartite  form  —  an  awkward  type  of  vault 
which  had  originated  in  Normandy  largely  as  the  result  of  an 
accident.  Not  that  the  quadripartite  form  ever  quite  died  out; 
on  the  contrary  it  always  survived  in  the  naves  of  small  churches. 
But  for  the  naves  of  important  edifices,  during  the  entire  second 
phase  of  the  transition,  the  sexpartite  vault  was  well-nigh  ex- 
clusively employed.  So  firmly  rooted  did  the  popularity  of 
this  form  become  that,  in  the  Cathedral  of  Paris,  although  the 
entire  building  up  to  the  clearstory  level  had  been  designed  for 
a  quadripartite  vault,  and  although  the  supports  and  shafts 
for  this  had  actually  been  constructed,  yet  when  it  came  to 
the  point  of  erecting  the  vault,  the  builders  suddenly  changed 
their  plans,  abandoned  the  quadripartite  vault  intended,  and 
erected  instead  a  sexpartite  vault. 

This  sudden  and  radical  change  in  the  design  of  Paris  gives 
reason  to  believe  that  for  some  reason  the  builders,  in  the  vault- 
ing of  great  spans,  found  it  easier,  or  safer,  to  employ  a  sex- 
partite rather  than  an  oblong  quadripartite  vault.  In  fact, 
oblong  quadripartite  vaults,  especially  on  a  large  scale,  offered 
great  diflSculties  of  construction  and  adjustment,  and  it  is  prob- 
able that  the  French  builders  of  1140  hesitated  to  undertake 
them  in  so  vast  an  edifice  as,  for  example,  St.  Denis.  The  con- 
structors of  this  church  were  accordingly  reduced  to  one  of  two 
alternatives  in  designing  the  vaults  for  this  choir:  they  might 
build  them  square  and  quadripartite  — i.e.,  on  the  old  Lombard 
system;  or  they  might  borrow  the  sexpartite  system  successfully 
practised  on  a  large  scale  in  Normandy.  The  Norman  sex- 
partite vaults  clearly  offered  a  structural  advantage  over  the 
Lombard  type.  Since  both  required  an  approximately  square 
plan,  for  a  nave  of  a  given  width  it  is  evident  that  a  bay  vaulted 
on  the  Lombard  system  would  contain  about  the  same  amount 
of  vault  surface  as  a  double  bay  of  the  sexpartite  system,  and 
would  consequently  have  nearly  the  same  weight  and  discharge 
thrusts  of  about  the  same  power.  But  in  the  Lombard  system 
these  weights  and  thrusts  were  all  gathered  on  the  alternate 

87 


THE   TRANSITION 

piers;  but  in  the  sexpartite  system  tlie  intermediate  ribs  dis- 
charged a  considerable  part  of  these  weights  and  thrusts  on 
the  intermediate  piers,  thus  easing  very  materially  the  strain 
upon  the  principal  supports. 

The  Norman  system  thus  once  established  at  St.  Denis  was 
immediately  copied  throughout  the  He  de  France.  The  very  fact 
that  a  more  or  less  satisfactory  substitute  had  been  found  doubtless 
deterred  the  builders  from  risking  the  difficult  construction  of 
an  oblong  quadripartite  vault  on  a  large  scale.  Yet  at  times 
they  seem  to  have  retained  sexpartite  vaults  out  of  pure  love 
for  their  distorted  surfaces ;  —  at  least  it  is  difficult  to  explain 
why  else  in  Champagne  and  the  bordering  regions  they  should 
have  out-Heroded  Herod,  and  invented  the  octopartite  vault. 
In  this  bizarre  construction  (111.  178)  three  bays  were  included 
between  a  single  pair  of  main  transverse  arches,  with  the  result 
of  grotesquely  distorting  the  vault  surfaces. 

The  sexpartite  vault,  ipso  facto,  necessitated  the  alternate 
system.  And  this  alternate  system  brought  to  a  head  the  prob- 
lem (which  had  long  been  impending)  of  how  to  provide  proper 
supports  for  the  various  ribs.  The  Lombards  had  provided  for 
every  rib  a  shaft  which  had  been  carried  directly  to  the  ground. 
This  construction,  which  was  entirely  satisfactory  from  both  a 
structural  and  from  an  esthetic  point  of  view,  was  adopted  in 
the  He  de  France  during  the  first  phase  of  the  transition,  except 
in  rare  cases,  where  for  some  unavoidable  reason  the  ribs  were 
carried  on  corbels*  (111.  162,  170,  173,  etc.).  Cylindrical  piers 
had  occasionally  been  used  in  wooden-roofed  churches  like 
Crezancy,  Lucheux,  or  Gassicourt;  but  it  Avas  only  at  the  very 
end  of  the  first  phase  of  the  transition  that  round  piers  or  col- 
umns were  employed  in  connection  with  the  vault.- 

Such  columns  seem  first  to  have  been  used  in  the  chevet, 
as,  for  example,  at  Poissy  and  Pontoise  (111.  166),  and  they  were 
probably  substituted  for  compound  piers  partly  in  order  to 
economize  floor  space,  partly  with  a  view  to  giving  an  appear- 
ance of  greater  lightness  to  the  construction.  Now  the  use  of 
these  columns  raised  the  question  of  what  to  do  with  the  vault- 

'  e.  g.  Rhuis  and  the  nave  of  Bellefontaine. 
2  Morienval  seems  to  be  an  exception. 

88 


111.  180.  —  Noyon.     Interior 


ADJUSTMENT    OF   SHAFTS 

ing  shafts,  which,  since  wall  ribs  were  now  generally  included, 
were  five  in  number  and  of  no  inconsiderable  bulk.  For  the 
present  they  were  continued  to  the  ground  as  of  old,  along  the 
face  of  the  column  (111.  173);  but  before  long  it  was  found  that 
floor  space  might  be  still  further  economized  by  stopping  the 
shafts  at  the  abacus  of  the  capital.  This  was  satisfactory  from 
a  constructive  standpoint,  since  it  is  the  natural  function  of  a 
capital  to  adjust  a  bulky  load  to  a  more  slender  support.  To 
place  so  great  a  bulk  on  only  one  side  of  the  abacus,  however, 
necessitated  an  awkward  distortion  of  the  form  of  the  latter 
(111.  204),  to  avoid  which  many  devices  were  invented. 

One  of  the  earliest  of  these  occurs  in  the  Cathedral  of  Sens. 
This  nave  (111.  179)  is  of  peculiar  interest  because  here  for  the 
first  time  columns  were  used  to  replace  piers  not  only  in  the 
chevet,  but  in  the  nave  and  choir.  The  master  builder,  how- 
ever, seems  to  have  mistrusted  the  ability  of  the  columns  to 
bear  the  great  weight  of  the  vault  and  of  the  clearstory  walls; 
accordingly  he  dared  to  use  them  only  in  the  intermediate  or 
lighter  supports,  and  there  he  reinforced  the  construction  by 
coupling  two  columns  together  in  the  latitudinal  sense.  In 
fact,  until  the  Gothic  period,  the  greater  weight  supported  by 
the  alternate  piers  was  never  entrusted  to  columns.  This 
peculiar  design  of  Sens  was  cleverly  utilized  to  improve  the  ad- 
justment of  the  shafts.  Since  columns  were  used  only  in  the 
intermediate  supports,  there  were  only  three  ribs  —  two  wall 
ribs  and  the  intermediate  transverse  rib  —  to  be  carried  in  the 
system  which  rested  on  columns.  Hence  it  was  possible  to 
gather  all  the  ribs  on  the  capital  of  a  single  shaft,  which  might 
easily  be  supported  on  the  abacus,  without  undue  distortion 
of  the  latter. 

At  Noyon  (111.  180)  an  entirely  different  and  a  better  ad- 
justment was  found.  Single  columns  were  substituted  for 
coupled  ones  in  the  intermediate  supports,  and  the  alternate 
piers  were  lightened  by  concentrating  the  wall  and  diagonal 
ribs  on  a  single  shaft,  so  that  there  were  thus  only  three  shafts, 
instead  of  five,  to  be  carried  to  the  ground.'     In  the  intermediate 

'  In  the  two  eastern  (earlier)  bays  of  the  nave  there  are,  however,  five  shafts.  The  wall 
shafts  have  no  capitals  at  the  main  impost  level,  but  only  at  the  top  of  the  stilting. 

89 


THE   TRANSITION 

supports  three  shafts  rose  from  the  abaci,  which  were  enlarged 
by  corbels  so  as  to  afford  them  sufficient  footing.  Thus  both 
alternate  and  intermediate  supports  had  the  same  number  of 
shafts,  but  the  sexpartite  vaults  with  which  the  nave  was  orig- 
inally covered  were  clearly  and  logically  expressed  by  making 
the  individual  shafts  of  the  altei-nate  group  much  heavier. 

At  Senlis  (111.  181)  the  system  seems  to  have  been  precisely 
similar  to  that  of  the  eastern  bays  of  Noyon,  that  is,  in  the  inter- 
mediate supports  there  were  three  shafts  resting  on  the  abaci 
of  the  columns  and  in  the  alternate  supports  five  shafts  carried 
to  the  ground.  This  arrangement  is  perfectly  rational  and  satis- 
factory. At  Notre  Dame  of  Chalons-sur-Marne  (111.  182)  the 
system  is  alternate,  although  the  vaults  seem  always  to  have  been 
quadripartite.  The  peculiar  adjustment  of  shafts,  best  ex- 
plained by  the  illustration,  is  due  probably  to  the  fact  that  the 
present  building  is  a  reconstruction  of  an  older  edifice,  though 
at  St.  Alpin  in  the  same  city  an  arrangement  exactly  analogous 
is  to  be  found.  At  Coulonges  the  system  is  logical  and  con- 
tinuous with  five  shafts  and  a  quadripartite  vault;  at  St.  Ger- 
main-des-Pres  of  Paris  three  shafts  rising  from  the  abaci  of  the 
columns  support  five  ribs;  and  in  the  almost  Gothic  chevet  of 
St.  Remi,  Reims  (111.  183)  five  shafts  rise  from  the  abaci  of  the 
columns. 

There  is  no  need  of  multiplying  examples.  Hardly  two 
buildings  of  the  second  phase  of  the  transition  show  exactly 
the  same  disposition  of  shafts.  It  was  reserved  for  the  Gothic 
builders  to  discover  the  adjustments  which  most  perfectly  com- 
bined structural  logic,  economy  of  material,  and  esthetic  beauty. 
The  buildei's  of  the  second  phase  of  the  transition,  however, 
fully  realized  the  problem,  and  with  that  persevering,  rational 
spirit  so  characteristic  of  the  age,  they  attempted  device  after 
device  and  paved  the  way  for  the  final  solution.  Not  one  of  the 
answers  proposed  is  without  great  ingenuity  and  interest,  and 
nothing  is  more  fascinating  than  to  study  comparatively  the 
various  systems  of  the  second  half  of  the  XII  century,  for  in 
the  development  of  no  other  feature  is  the  perseverance  and 
logic  by  which  Gothic  architecture  finally  arrived  at  perfec- 
tion more  strikingly  illustrated. 

90 


III.  181.  —  System  of  Senlis 


u 


o 
2 


FLYING   BUTTRESSES 

As  the  adjustment  of  shafts  came  to  be  improved,  it  became 
customary  to  set  the  capitals  of  the  diagonal  shafts  normal  to 
the  direction  of  the  ribs  they  carried  (111.  179),  instead  of  plac- 
ing them  normal  to  the  wall  (111.  180).  This  was  no  new  idea, 
and  had  been  tried  in  the  first  half  of  the  century,  as,  for  ex- 
ample, at  St.  Etienne  of  Beauvais  (111.  162);  but  it  gradually 
became  more  and  more  common  until  the  older  disposition  was 
supplanted.' 

The  builders  of  the  second  half  of  the  transition  were  con- 
fronted by  another  problem  far  more  vital  than  these  niceties 
of  adjustment.  It  was  necessary  to  discover  some  means  to 
buttress  the  thrust  of  the  rib  vaults,  which,  when  erected  over 
so  large  an  area  as  the  nave  of  an  important  church,  seriously 
imperiled  the  stability  of  the  building,  unless  some  substantial 
abutment  could  be  devised.  Fully  equal  to  the  occasion,  the 
transitional  builders  called  into  being  the  flying  buttress  —  a 
new  principle,  that  more  than  any  other  assured  the  triumph 
of  the  rib  vault,  and  a  principle  whose  discovery  marks  the 
naoment  when  Gothic  Architecture  first  came  into  being.  Un- 
fortunately, just  how  or  where  this  new  principle  first  saw  the 
light,  is  among  the  most  vexed  questions  of  the  entire  transi- 
tional period. 

Flying  buttress  concealed  beneath  the  aisle  roof  (111.  177) 
had  been,  as  we  have  seen,  imported  from  Normandy  as  early 
as  1140.  During  the  next  fifteen  years  and  even  longer,  such 
buttresses  were  regularly  employed  without  substantial  altera- 
tion of  design,  as,  for  example,  at  St.  Germer  and  Creil.  But- 
tresses of  this  type,  however,  brought  the  strut  to  bear  on  a 
point  too  low  to  oppose  most  effectively  the  thrust  of  the  vault, 
especially  if  the  clearstory  were  of  any  great  height.  The  step 
to  raising  the  flying  buttress  over  the  roof  to  meet  more  squarely 
this  thrust  seems  obvious,  and  was,  indeed,  taken.  But  when 
and  where  ? 

The  early  extant  examples  of  flying  buttresses  give  little 
clue  to  the  answer  of  this  question.     The  chevet  of  Domont 

'  Capitals  normal  to  the  wall,  however,  occur  at  Noyon,  Notre  Dame  of  Chalons-sur-Mame, 
St.  Martin  of  Laon  (c.  1165),  Namps-au-Val  (c.  1150),  etc.  They  seem  to  have  been  so  set  to 
adapt  the  abaci  to  the  profile  of  the  ribs  they  must  carry.     See  below,  p.  295. 

91 


THE   TRANSITION 

(111.  184)  has  true  flying  buttresses  which  appear  to  be  of  a  type 
as  primitive  as  any  that  have  come  down  to  us,  and  which  I 
should  assign  to  c.  1155;  there  is,  however,  no  documentary 
evidence  to  support  this  date.  Other  examples  of  flying  but- 
tresses of  early  type  (111.  185)  exist  in  the  choir  of  Noyon  (c. 
1157),  at  Sens  (c.  1160),  at  Notre  Dame  of  Chalons-sur-Marne 
(c.1160),  at  St.  Germain-des-Pres  (c.  1163),  at  St.  Martin  of 
Laon  (c.  1165),  at  St.  Remi  of  Reims  (c.  1180),  and  at  Arcy- 
Ste. -Restitute  (c.  1180).  If  all  these  examples  were  contem- 
porary with  the  original  constructions,  the  evolution  would  not 
be  difficult  to  determine ;  but  with  the  single  exception  of  Arcy- 
Ste.-Restitute,  it  is  suspected,  and  apparently  with  good  rea- 
son, that  every  one  of  these  buttresses  was  erected  subsequently 
to  the  original  construction  and  probably  in  consequence  of 
some  signs  of  instability  that  had  appeared  in  the  masonry  of 
the  vault.  They  may  thus  have  been  added  one  or  twenty  years 
after  the  buildings  to  which  they  belong  were  completed.  Fur- 
thermore, it  is  certain  that  the  south  transept  of  Soissons  and 
the  choir  of  St.  Remi,  both  large  structures,  were  erected  c.  1180 
without  flying  buttresses. 

Hence  it  is  probable  that  the  advantages  and  possibilities 
of  the  flying  buttress  were  not  immediately  appreciated  at  their 
full  value,  and,  while  the  new  construction  was  freely  applied 
in  cases  where  the  threatened  fall  of  the  vault  demanded  its 
application,  edifices  even  of  considerable  dimensions  still  con- 
tinued to  be  erected  without  its  aid.  These  early  flying  but- 
tresses were  clumsy  and  awkward  in  appearance  (111.  185). 
The  builders  were  as  yet  far  from  conceiving  how  such  simple 
struts  could  be  developed  to  give  the  exterior  of  the  church  the 
same  beauty  and  aspiring  character  that  had  already  long  char- 
acterized the  interior;  nor  did  they  perceive  that  by  means  of 
the  flying  buttress,  and  by  this  means  only,  the  central  fact  of 
the  Gothic  church  —  the  rib  vault  —  could  be  expressed  ex- 
ternally, and  interior  and  exterior  thus  brought  into  one  unified 
and  logical  whole.  But  there  can  be  no  question  that  the  rudi- 
mentary flying  buttress  was  known  very  shortly  after  1160,  if 
not  before.  It  is  incredible  that  the  master  builder  who  traced 
the  grandiose  foundations  of  the  choir  of  Paris  (c.  1163)    could 

92 


III.   183. — St.  Remi  of  Reims.     Interior  of  Clievet 


III.  184.  —  Flying  Buttresses  at  Domont.     (From  Arch,  de  la  Com.  des  Mon.  Hist.) 


SPIRES 

have  conceived  the  execution  of  those  mighty  vaults  without  a 
very  distinct  intention  to  provide  abutment  by  means  of  flying 
buttresses. 

The  flying  buttress  underwent  Httle  development  in  the 
transitional  period.  The  flat  top,  it  is  true,  in  the  later  examples 
was  gabled  in  order  to  shed  rain  water  better,  but  the  buttress 
itself  always  remained  in  a  sense  ineflScient,  since,  before  the 
Gothic  period,  it  was  never  discovered  how  to  apply  the  strut 
to  the  exact  spot  in  the  clearstory  wall  where  it  would  most 
effectively  neutralize  the  thrust  of  the  vault.  However,  the 
principle  had  been  established,  and  it  now  became  only  a  ques- 
tion of  carrying  it  to  perfection. 

The  flying  buttress  marks  the  final  step  in  the  development 
of  the  rib  vault.  After  this  principle  had  been  discovered,  there 
remained  to  be  carried  out  by  the  Gothic  architects  minor  ad- 
justments, but  no  vital  changes.  The  evolution  of  the  rib  vault 
had  been  completed,  and  in  the  rib  vault  —  its  great  central 
fact  —  is  summed  up  the  structural  advance  of  the  transitional 
period.  We  have  already  seen  how  other  lines  of  development 
in  general  were  merely  corollaries  and  necessary  consequences 
of  this  one  line  of  progress. 

There  were,  however,  a  very  few  structural  changes  uncon- 
nected with  the  rib  vault  made  in  the  transitional  era,  and  it 
is  necessary  to  glance  at  the  more  important  of  these  before 
closing  this  part  of  the  chapter.  The  most  interesting  of  all 
was  the  development  of  the  spire,  which,  as  has  been  already 
seen,  was  evolved  from  the  roof  of  the  tower.  The  towers 
themselves  underwent  no  essential  structural  modification  dur- 
ing the  transitional  period.  It  became  increasingly  rare,  it  is 
true,  to  place  them  at  the  west  ends  of  country  churches  as  had 
frequently  been  done  in  the  XI  century,  and  at  last  this  usage 
entirely  passed  away.  But  they  continued  to  be  square,  or 
rarely  octagonal,'  in  form,  quite  as  they  always  had  been.  The 
only  true  advance  was  made  in  the  direction  of  ornament  rather 
than  of  construction.  Designs  of  ever-increasing  dignity  and 
beauty   came   to   be   produced;  the   pointed   arch   appeared   in 

'  e.  g.  at  Blangy-sur-Poix,  St.  Martin,  Cauvigny,  Orgeval,  Juvigny,  Bouconvillers,  Cam- 
bronne,  Lierville,  and  FeucheroUes. 

93 


THE   TRANSITION 

windows  and  openings,  while  the  lovely  flora  of  early  Gothic 
ornament  blossomed  on  capital,  string-course,  and  cornice. 

It  was  probably  in  the  He  de  France  rather  than  in  Nor- 
mandy that  the  Gothic  spire  was  developed,  although  the  two 
schools  advanced  along  much  the  same  paths.  The  exact 
stages  of  progress  in  this  evolution  are  difficult  to  determine; 
there  is  always  the  possibility  that  any  given  spire  was  added 
long  after  the  completion  of  the  tower  on  which  it  stands,  and, 
as  the  spires  themselves  are  seldom  furnished  with  ornament, 
it  is  impossible  to  obtain  even  an  approximate  idea  of  their 
date  from  the  style  of  the  details.  The  XII  century  has  left  us 
in  the  He  de  France,  however,  a  splendid  series  of  monuments  ^ 
showing  all  stages  of  the  evolution  of  the  spire  from  the  plain 
pyramidal  tower  roof,  through  the  forms  where  the  transition 
from  square  to  octagon  is  managed  more  or  less  crudely  by 
means  of  angle  turrets  and  dormers  (111.  186,  187,  188),  until 
at  Chartres  (111.  190)  and  Senlis  (111.  189)  the  fully  developed 
Gothic  spire  appears  in  all  its  glory.  These  Gothic  spires,  al- 
though perhaps  inferior  to  the  spires  of  Normandy,  are  yet 
among  the  most  lovely  architectural  compositions  ever  designed. 
Nothing  could  be  more  skilful  than  the  means  by  which  the 
transition  from  square  base  to  octagonal  pyramid  is  compassed; 
the  eye  travels  smoothly  from  base  to  summit  scarcely  conscious 
of  the  change  in  form.  At  Senlis  and  Chartres  ^  this  transition 
is  effected  not  only  by  means  of  dormers  and  turrets,  but  the 
upper  story  of  the  tower  itself  is  made  octagonal.  Thus  was 
reached  the  final  solution  of  this  difficult  point  of  design.  To 
appreciate  the  achievement  represented  by  these  Gothic  spires, 
it  is  necessary  to  study  the  long  experiments  in  proportion  and 
adjustment  made  in  the  earlier  examples,  for  here,  as  in  every 
other  part  of  the  edifice,  the  patience  and  perseverance  of  the 
transitional  period  made  possible  the  perfection  of  the  Gothic. 

1  At  Mogneville  (c.  1175),  Orgeval,  Marolles,  Jouy-le-Moustier  (1125-1150),  Cauvigny, 
Frou%Tlle,  St.-Vaast-de-Longmont,  Plessis-le-Charmant,  Linay,  Saintines,  Athis,  St.-Gervais-de- 
Pontpoint,  St.  Germer,  Cambronne,  Bethisy-St.-Martin,  Nesles,  Feucherolles,  La-Ferte-Aleps, 
Nogent-sur-Mame,  etc. 

^  To  appreciate  this  tower  it  is  necessary  to  consider  it  by  itself,  or  rather  imagine  it  as 
flanking  a  gable  of  about  the  height  of  the  three  pointed  windows  beneath  the  rose.  The  pres- 
ent lofty  gable  spoils  the  effect  of  the  old  tower  and  dwarfs  its  proportions. 

94 


CLOISTERS 

Of  all  the  exterior,  only  the  tower  and  the  fa9ade  showed 
during  the  transitional  period  a  development  to  correspond 
with  the  vast  changes  that  had  been  wrought  in  the  interior  of 
the  edifice.  Flying  buttresses  appeared  commonly  only  in  the 
last  twenty  years  of  the  XII  century,  and  up  to  that  time,  save 
perhaps  for  an  occasional  pointed  arch,  or  a  deeper  buttress 
here  and  there,  the  exterior  of  the  main  body  of  the  church  re- 
mained essentially  Romanesque  in  appearance.  As  early  as 
1140,  however,  the  fa9ades  of  great  churches  like  St.  Denis 
(111.  191)  or  Chartres  ^  (111.  190)  began  to  show  a  changed 
character,  the  old  Carolingian  idea  of  flanking  the  central  gable 
on  either  side  by  towers  being  developed  into  a  new  significance. 
The  fa9ade  of  Sens  (111.  192),  which  retains  some  transitional 
fragments,  is  of  interest  for  the  arcade  or  gallery  that  seems  to 
have  been  carried  across  it ;  —  a  feature  which  was  nobly  devel- 
oped in  the  Gothic  period.  The  builders  of  the  He  de  France 
also  employed  a  type  of  fa9ade  we  have  studied  in  Normandy, 
the  central  gable  being  flanked  by  turrets  in  lieu  of  towers.  On 
the  other  hand,  in  country  edifices  they  often  accepted  the  some- 
what awkward  section  of  a  three-aisled  church  without  making 
any  attempt  to  soften  the  outlines  (111.  193). 

In  the  treatment  of  the  plan,  outside  of  the  addition  and 
development  of  the  ambulatory  already  described,  few  changes 
were  introduced  during  the  transitional  era.  Dimensions  came 
to  be  greatly  enlarged,  but  the  typical  dispositions  were  only 
slightly  varied.  Semicircular  transept-ends  were  introduced 
at  Noyon  (111.  176),  perhaps  from  Germany,  and  this  singular 
motive  was  afterwards  repeated  in  the  south  transept  at  Sois- 
sons  and  in  the  flamboyant  period  in  the  XV  century  church 
of  Neufchatel  (Seine-Inf erieure) .  The  plan  of  Noyon  (111. 
176)  is  also  peculiar  for  a  second  transept  introduced  at  the 
west  end  adjoining  the  fa9ade  —  a  disposition  of  interest  as 
finding  analogies  in  England.^ 

Cloisters  were  doubtless  constructed  at  this  time  in  France 
in  connection  with  all  cathedral  and  abbey  churches,  but  these 

■  It  should,  of  course,  be  remembered  that  only  the  lower  portions  of  the  facade  of  Chartres, 
together  with  the  southern  tower,  date  from  this  period. 

"  e.  g.  at  Ely.     A  western  transept  was  planned  at  St.  Germer  but  was  never  carried  out. 

95 


THE   TRANSITION 

lovely  courts  became  the  special  object  of  attack  in  the  Revo- 
lution and  other  iconoclastic  periods  of  French  history,  with 
the  result  that  practically  all  examples,  whether  of  the  transi- 
tional or  Gothic  epoch,  have  entirely  disappeared.  Fragments 
survive  at  Noyon,  St.  Jean-des-Vignes  of  Soissons  and  else- 
where; but  I  can  not  name  a  single  well-preserved  cloister 
nearer  the  He  de  France  than  Mt.-St.-Michel,'  a  monument 
which  is  much  more  English  than  French  in  style.  Conse- 
quently we  can  only  imagine,  on  analogy  with  cloisters  in  other 
countries,  especially  England,  what  the  cloister  of  the  He  de 
France  must  have  been. 

While  thus  the  changes  wrought  in  the  exterior  of  the  design 
apart  from  the  rib  vault  and  its  corollaries  were  few,  there  was 
only  one  new  feature  of  importance  independent  of  that  all- 
controlling  principle  introduced  in  the  interior.  It  has  been 
seen  that  the  habit  of  building  high  triforium  galleries  had  been 
introduced  from  Normandy  at  St.  Denis.  Now  the  introduc- 
tion of  this  gallery  led  to  a  noteworthy  innovation  in  design. 
Since  the  triforium  arcade  had  always  been  used  to  occupy 
the  wall  space  beneath  the  lean-to  roof  of  the  aisles,  when  this 
roof  was  placed  above  the  gallery,  it  was  natural  to  place  here 
also  the  triforium  arcade,  even  though  a  triforium  gallery 
already  existed  below  (III.  173).  Hence  it  resulted  that  the 
nave  was  divided  into  four  stories:  the  main  arcade,  the  gal- 
lery, the  triforium,  and  the  clearstory.  The  effect  of  this  four- 
fold design,  as  may  be  seen  in  the  illustrations  of  the  naves  of 
Noyon  (111.  180),  of  Notre  Dame  of  Chalons-sur-Marne  (111. 
182),  and  of  St.  Remi  of  Reims  (111.  183),  was  not  altogether 
happy.  It  tended  to  multiply  the  horizontal  lines,  whereas 
the  true  destiny  of  Gothic  lay  in  the  emphasis  of  the  vertical 
line.  However,  doubtless  owing  to  the  fact  that  it  tended  to 
raise  high  the  concealed  flying  buttresses,  the  four-storied  de- 
sign was  very  generally  employed  in  the  larger  monuments  of 
the  second  phase  of  the  transition. 

In  the  choir  of  St.  Remi  (111.  183)  an  attempt  was  made, 
while  preserving  the  four-storied  design,  to  overcome  the  effects 

1  The  most  ancient  cloister  extant  in  Normandy  is,  I  believe,  that  of  Abbaye  Blanche  of 
Mortain,  dating  from  the  end  of  the  XII  century. 

96 


III.  186.  —  Morienval.     Exterior 


ORNAMENT 

of  the  extra  horizontal  hnes,  by  binding  together  into  one 
composition  clearstory  and  triforium.  This  experiment  which 
had  already  been  tried  at  St.  Germain-des-Pres  and  at  Cam- 
bronne  was  so  successful,  that  it  was  later  borrowed  in  the  nave 
of  Amiens,  and  formed  the  basis  of  the  glazed  triforiums  of  the 
rayonnant  period. 


In  Gothic  architecture  structure  is  so  ornamental,  and  orna- 
ment is  so  structural,  that  it  is  impossible  to  draw  a  sharp  line 
between  the  essential  body  of  the  building  and  its  applied  deco- 
ration. As  Romanesque  ornament  was  transformed  by  almost 
imperceptible  stages  into  Gothic  ornament,  the  forms  which 
had  hitherto  had  little  but  purely  decorative  significance,  at 
once  commenced  to  assume  a  share,  however  modest,  in  the 
task  of  holding  the  building  together. 

This  is  most  strikingly  illustrated  in  the  profiles  of  mould- 
ings, features  which  had  always  been  the  most  purely  esthetic 
a,nd  decorative  part  of  a  building,  but  which  in  the  transitional 
period  came  to  assume  distinctly  structural  functions.  Such 
structural  mouldings  are  found  in  the  abaci  and  bases  of  piers, 
in  interior  and  exterior  string-courses  and  cornices,  in  the  archi- 
volts  of  arches,  windows,  and  doorways,  and  in  the  transverse 
and  diagonal  vaulting  ribs.  The  variety  and  combinations  of 
profiles  used  in  each  of  these  positions  is  legion,  and  it  would 
be  well-nigh  impossible  to  exhaust  all  the  various  types.  Yet 
amid  all  this  infinite  variety  of  design,  this  exuberance  of  in- 
vention, there  are  none  the  less  certain  governing  structural 
principles.  The  artists  who  designed  and  executed  these  pro- 
files possessed  a  fertile  imagination  which  was  restrained  solely 
by  the  dictates  of  structural  truth  and  expediency. 

A  capital,  as  I  believe  VioUet-le-Duc  first  pointed  out,  is 
of  structural  significance  only  when  it  serves  to  adjust  a  greater 
load  to  a  more  slender  support.  A  Roman  Corinthian  colon- 
nade would  stand  quite  as  well  were  the  capitals  omitted  and 
the  architrave  placed  directly  on  the  shafts.  On  the  other 
hand,  if  the  capitals  were  omitted  in  a  Byzantine  or  Gothic 
arch-construction  such  as,  for   example,  the    chevet  of   Noyon 

97 


THE   TRANSITION 

(111.  204)  the  safety  of  the  building  would  at  once  be  compro- 
mised, for  the  archivolts  would  overhang  the  shaft  to  a  danger- 
ous extent.  Now  in  the  Romanesque  and  early  transitional 
periods,  the  capitals  had  received  loads  only  slightly  more 
bulky  than  the  supporting  pier;  but  as  the  transition  advanced, 
the  load  commenced  to  be  made  larger  and  larger,  and  the 
capital  hence  given  more  and  more  of  a  structural  significance. 
In  consequence  of  this  larger  load  it  came  to  be  seen  that  it 
was  of  great  importance  to  thicken  the  abacus,  since  such  addi- 
tional thickness  was  needed  to  strengthen  this  member  against 
the  weight  of  the  overhanging  corners.  Thus  in  the  second 
phase  of  the  transitional  movement  it  became  the  rule  that  the 
thickness  of  the  abacus  should  be  proportioned  to  the  spread  of 
the  capital.'  And  by  one  of  those  happy  coincidences  so  fre- 
quent in  Gothic  that  we  half  come  to  suspect  they  were  not 
coincidences  at  all,  what  satisfied  structural  logic  also  satis- 
fied the  eye.  Compare,  for  example,  the  illustrations  of  the 
broad  abacus  with  its  heavy  load  in  the  ambulatory  of  Notre 
Dame  of  Chalons-sur-Marne  (111.  242),  and  the  extremely  thin 
abacus  with  its  light  load  in  the  triforium  of  Noyon  (111.  180). 

Of  the  actual  profiles  of  abaci,  the  plate  (111.  194)  speaks 
for  itself.  The  design  was  almost  infinitely  varied,  and  only 
a  few  general  statements  can  be  made.  The  top  member, 
however,  was  always  a  plinth,  giving  virility  and  strength  to 
the  outhne ;  and  at  this  period  it  is  to  be  noticed  that  the  abacus 
was  always  square  in  plan.  The  habit  of  continuing  the  abacus 
as  a  string-course  was  common  from  the  second  quarter  of  the 
XII  century.  After  c.  1145  the  abacus  almost  invariably  in- 
cluded a  half-round  projecting  fillet  somewhere  among  its 
members.  As  the  transition  period  approached  its  close  the 
outline  of  the  profile  became  more  refined,  the  shaping  of  the 
members  more  delicate,  the  undercutting  deeper.  There  was 
also  a  tendency  to  mcrease  the  number  of  mouldings.  But  the 
profile  was  never  allowed  to  approach  anything  like  complexity, 
and  to  the  end  remained  simple  and  dignified. 

Bases  show  much  the  same  structural  evolution.  The  old 
Attic    profile  of  two  tori   separated    by  a    scotia  was    usually 

1  Moore,  304. 


III.  187.  —  Spire  of  Bethisy-St.-Martin 


GRIFFES 

retained  in  a  general  way,  though  its  proportions  were  freely 
altered  to  suit  individual  cases  (111.  195).  Since,  however,  the 
greater  weight  which  now  came  to  be  concentrated  on  the  col- 
umn rendered  the  base  far  more  liable  to  lateral  movement  than 
had  been  the  case  in  classic  times,  the  stability  of  the  base  was 
increased  by  making  the  plinth  higher  and  more  spreading  than 
had  ever  been  done  before.  Thus  was  evolved  the  Gothic 
base  stone,^  which  for  greater  effectiveness  was  often  doubled. 
Here  again  beauty  seemed  to  wait  on  structural  truth.  No 
footing  has  ever  been  devised  more  secure  than  these  mighty 
Gothic  bases  which  seem  to  defy  time  and  destruction;  and 
at  the  same  time  it  would  be  impossible  to  improve  on  the  pro- 
portions and  profiles  of  the  mouldings.  Particularly  when 
the  lower  torus  was  flattened  and  the  scotia  deeply  undercut 
it  is  safe  to  say  the  Greeks  themselves  never  devised  a  profilfe 
more  subtle  or  refined. 

Transitional  bases  were  almost  always  supplied  with  griffes, 
which,  although  they  had  been  used  from  the  XI  century, 
reached  their  most  expressive  development  when  the  base  plinth 
began  to  be  much  spread  out,  thus  leaving  large  corners  to  be 
filled  between  the  torus  and  the  angles  of  the  plinth.  A  griff e 
cannot  be  said  to  contribute  to  the  stability  of  the  building; 
it  does,  however,  satisfy  the  eye,  and  when  executed  by  the 
wonder-working  hand  of  the  early  Gothic  sculptors,  makes 
a  spot  of  beauty  of  what  would  otherwise  be  an  awkward  pro- 
jecting corner.  This  feature  may  thus  be  said  to  have,  to  a  cer- 
tain extent,  made  possible  the  spreading  base. 

The  development  of  the  string-course  (111.  197)  was  also 
structural.  Until  the  XII  century  string-courses  had  been  com- 
posed of  various  simple  projecting  mouldings,  and  had  always 
been  flat  on  top.  Since  this  flat  top  offered  a  ledge  where  snow 
and  rain-water  might  lodge  and  consequently  disintegrate  the 
stone,  the  transitional  builders  gave  the  upper  member  a  slop- 
ing form,  in  order  that  the  rain  and  snow  might  be  thrown  ofi^. 
The  earliest  extant  example  where  this  was  done,  is,  I  believe, 
Berzy-le-Sec  (111.  197),  an  edifice  of  c.  1140.  Later  the  drip 
stone,  as  this  upper  sloping  member  is  called,  came  to  be  deeply 

'  Moore,  318. 
99 


THE   TRANSITION 

undercut,  so  that  water  could  not  trickle  on  down  the  wall.  The 
exterior  string-course  thus  became  a  highly  important  factor 
in  the  actual  conservation  of  the  walls,  since  it  not  only  ceased 
to  injure  the  wall  above  by  causing  the  rain  to  spatter  up  against 
it,  but  it  also  actually  protected  a  portion  of  the  wall  below. 

That  the  peculiar  form  of  the  drip  stone  moulding  was 
adopted  from  purely  structural  considerations  is  proved  by 
the  fact  that  this  profile  was  rarely  employed  internally;  when 
it  was  so  used,  it  was  generally  in  cases  where  it  was  desired  not 
to  shut  from  sight  some  detail  immediately  above.  Thus  in 
the  cathedral  of  Paris  the  triforium  string  was  given  a  sloping 
top  member,  in  order  to  avoid  hiding  the  bases  of  the  triforium 
arcade.^  The  general  character  of  internal  string-courses  is 
shown  by  the  plate  (111.  196).  It  is  to  be  remarked  that  the 
string-course  is  almost  the  only  projecting  moulding  allowed  on 
the  French  interior. 

For  cornices  (111.  19S)  the  only  structural  requirement  was 
that  the  profile  should  be  receding,  so  that  rain-wate"r  could  not 
trickle  down  from  the  roof  to  the  walls.  Within  this  limita- 
tion the  mouldings  were  varied  almost  without  restriction. 
Flat  and  arched  and  double  arched  corbel-tables  carved  with 
grotesque  figures  (111.  205)  were  commonly  applied  as  orna- 
ments to  this  crowning  member,  as  were  also  bands  or  friezes 
of  grotesques,  of  Byzantinesque  acanthus-leaves,  and  of  rinceaux. 

The  archivolts  of  the  arches  of  the  main  arcades  in  France 
were  always  simple.  During  the  first  half  of  the  XII  century, 
and  indeed,  at  times,  even  in  the  second  half  of  that  century, 
as  for  example  at  Noyon  (111.  180),  the  archivolts  were  made 
perfectly  plain  and  unmoulded,  or  were  merely  broken  into 
one  or  two  orders,  although  the  moulded  form  was  used  as  early 
as  c.  1125  at  Bellefontaine  (111.  199).  The  interesting  and 
exceptionally  advanced  archivolts  of  this  church  consisted  of 
double  orders,  each  corner  being  softened  by  a  roll  moulding. 
This  same  form  with  the  addition  of  curved  undercutting  (111. 
199)  became  the  characteristic  type  of  Gothic  archivolts,  which 
in  the  best  period  were  never  elaborate.  Except  in  Normandy, 
projecting  mouldings   were   not   added.     Projecting  mouldings 

1  Moore,  329. 
100 


III.  ISS.  —  Spire  of  Chamant 


PROFILES 

when  used  externally  over  windows  and  doorways,  had  their 
structural  function  in  shedding  rain-water;  but  to  apply  them 
internally  as  mere  ornament  was  contrary  to  the  Gothic  sense 
of  architectural  truth.'  Thus  the  archivolts  were  allowed  to 
retain  throughout  the  Gothic  period  their  primitive  simplicity. 

The  arched  string-course  of  Carolingian  tradition  was  the 
prototype  of  the  projecting  external  member  of  the  archivolts 
of  windows  and  doorways  (111.  200,  201).  Flat  at  first,  these 
projecting  mouldings,  on  precise  analogy  with  the  drip  stone, 
came  to  be  given  a  sloping  topmost  member.  As  a  further 
protection  from  the  weather  for  the  delicate  mouldings  and  the 
rich  ornament  which  were  used  to  decorate  the  portals,  even  as 
early  as  the  transitional  period,  a  sort  of  gable  was  built  out  from 
the  fa9ade  over  the  entrance  arch.  The  mouldings  of  the  door- 
ways become  fine  and  complicated  (III.  201),  and  the  orna- 
ment, which  was  often  exceedingly  rich,  seems  to  have  followed 
closely  the  Norman  style.  In  windows  the  profiles  remained 
far  more  simple.  On  the  interior,  the  archivolt  of  the  window 
usually  consisted  merely  of  a  simple  roll  moulding  supported 
on  a  shaft  (111.  200). 

The  profiling  of  diagonal  and  transverse  ribs  (111.  202,  203) 
is  a  difficult  subject,  since  the  transitional  architects  seem  to  have 
especially  delighted  in  devising  new  and  varied  forms  for  these 
important  members.  The  earliest  section  of  both  was  prob- 
ably a  simple  rectangle.  Then  in  the  diagonals  this  rectangular 
section  came  to  be  moulded  into  a  single  torus,  and  later  into 
three  tori,  while  the  transverse  rib  was  first  chamfered,  then 
provided  with  a  roll  moulding  on  each  edge.  After  this  ensued 
the  greatest  variety  of  forms,  as  the  builders  acquired  greater 
skill  and  technique.  In  general,  the  better  proportioned  and 
more  delicate  the  profile,  the  later  the  moulding.  As  in  later 
times  the  size  of  the  ribs  was  diminished,  the  profiles  became 
less  complicated,  and  included  fewer  small  members.  The 
transverse  ribs  continued  to  be  generally  square  in  form,  but 
the  diagonals  tended  to  assume  a  triangular  shape,  usually 
preserving,  however  much  altered  by  other  elements,  the  three 

1  There  are  a  few  exceptional  cases  where  such  projecting  mouldings  occur,  as  at  Arcy-Ste. 
Restitute,  etc. 

101 


THE  t;ransition 

original  tori,  of  which  the  central  one  tended  to  become  larger 
and  project  beyond  the  others.  As  early  as  c.  1125  at  Belle- 
fontaine  this  torus  had  assumed  the  pointed  form  that  was 
destined  to  become  very  characteristic  of  Gothic  profiles;  later 
it  was  gouged  in  the  center,  or  else  (towards  the  end  of  the  XII 
century)  a  fillet  was  added  along  the  ridge.  In  measure  as  the 
Gothic  period  approached,  the  undercutting  became  deeper 
and  more  skilful,  and  the  lines  of  shadow  were  cut  in  subtle 
curves,  producing  thus  a  much  more  delicate  effect  of  shading. 

In  the  composition  of  geometric  ornament,  transitional 
architecture  showed  less  originality  than  in  the  design  of  pro- 
files. Shafting  was  a  favorite  motive  which  was  used  freely  in 
the  jambs  of  doorways  and  windows,  on  the  angles  of  buttresses 
and  towers,  and  groups  of  shafts,  or  rather  columns,  were  em- 
ployed as  external  buttresses  for  the  apse.  In  the  second  half 
of  the  XII  century  it  became  customary  to  ornament  the  shafts, 
especially  when  employed  internally  to  support  a  system,  with 
bands  or  rings  placed  at  regular  intervals.  The  chevet  of  Noyon 
(111.  204)  offers  a  characteristic  example  of  this  feature.  About 
the  same  time,  the  shafts  in  the  jambs  of  the  portals  came  to  be 
covered  with  rich  diaper  patterns,  chevrons,  lozenges,  etc.  —  a 
motive  which  appears  to  be  of  southern  (Burgundian)  origin. 

Also  from  Burgundy  in  all  probability  came  the  very  evi- 
dent classical  reminiscences,  the  rinceaux  and  acanthus-leaves 
and  anthemia,  that  flourish  so  luxuriantly  about  the  portals  of 
St.  Denis  or  Rouen  or  Chartres  (111.  215)  and  throughout  the 
decoration  of  St.  Remi  of  Reims  and  Notre  Dame  of  Chalons-sur- 
Marne.  This  classic  influence  gradually  disappeared  as  the 
Gothic  period  approached,  although  it  now  and  then  would 
come  to  light  in  the  most  unexpected  places;  as,  for  example, 
in  certain  capitals  (111.  207)  in  the  south  transept  of  Soissons  — 
a  structure  almost  completely  Gothic. 

The  Carolingian  billet  moulding  continued  to  be  used  in 
exterior  string-courses  and  over  windows  until  the  middle  of 
the  XII  century,  when  it  gradually  yielded  to  the  drip  stone. 
The  chevron  made  its  way  from  Normandy,  probably  as  early 
as  the  first  quarter  of  the  century,  and  became  very  popular, 
being  employed   with  rich  effect  in  doorways,   over  windows, 

102 


III.  189.  —  Senlis.     Exterior 


III.  190.  —  Facade  of  Chartres 


IMITATION  OF  NATURAL  FLORA 

and  on  archivolts;  its  use  was  also  extended  to  ribs,  usually 
in  monuments  about  contemporary  with  St.  Denis,  such  as  St. 
Germer  (111.  173),  Namps-au-Val,  Trie-la- Ville,  and  Monchy- 
St.-Eloi.  After  c.  1170,  however,  the  chevron  passed  out  of 
use.  The  dog-tooth  ornament,  near  relative  of  the  chevron, 
also  appeared  in  the  He  de  France  in  the  second  half  of  the  XII 
century,  as,  for  example,  at  Courmelles. 

Thus  as  the  transition  advanced,  purely  geometrical  orna- 
ment came  to  be  less  and  less  used.  The  artists  learned  grad- 
ually to  look  more  and  more  to  the  natural  forms  of  leaves  and 
plants  growing  about  them  for  inspiration  and  models  for  their 
designs.  This  turning  to  nature  is  to  the  history  of  transitional 
ornament  what  the  rib  vault  is  to  the  history  of  transitional 
structure  —  it  is  the  key,  the  central  fact  about  which  all  cen- 
ters. The  naturalistic  tendency  never  took  the  form  of  servile 
imitation  in  the  best  period  of  Gothic  art,  and  least  of  all  in  the 
transition;  for  the  early  Gothic  architects  had  learned  from 
classic  tradition  the  great  lesson  that  natural  forms  must  be  con- 
ventionalized to  be  suitable  for  architectural  ornament ;  that  such 
decorations  must  be  made  an  integral  part  of  the  composition; 
and  that  the  foliage  of  capitals  and  string-courses  must  not 
distract  the  eye  from  the  contemplation  of  the  whole.  This 
result  can  be  effected  only  when  the  patterns  are  of  a  certain 
large  character,  with  plainly  marked  divisions  to  which  the 
smaller  detail  is  rigidly  subjected,  since,  if  the  detail  all  be 
made  equally  prominent,  as  is  necessary  in  realistic  imitation, 
the  proportional  emphasis  of  part  and  whole  is  immediately 
destroyed.  Any  of  the  later  Gothic  buildings  where  naturalistic 
foliage  is  employed  will  offer  a  graphic  illustration  of  this  truth. 

Thus  in  the  transitional  period  the  artists  avoided  actual 
imitation  of  nature  in  their  ornament.  They  preserved  all  that 
was  best  in  classic  tradition  —  the  restraint,  the  strict  subordina- 
tion of  the  parts  to  the  whole,  the  generally  conventional  charac- 
ter. They  merely  gave  new  life  to  old  principles.  For  the 
traditional  acanthus-leaf  they  substituted  the  tender  forms  of 
the  spring  plants  they  saw  about  them,  for  the  volutes  of  the 
Corinthian  capital,  the  yet  unrolled  bulbous  form  of  the  fern 
as  it  first  appears  in  the  springtime.     The  finest  sense  of  judg- 

103 


THE    TRANSITION 

ment  was  displayed  in  the  selection  of  those  natural  forms 
which  by  their  simplicity  and  grace  were  well  adapted  for  archi- 
tectural purposes;  serrated  or  complicated  leaf  patterns  were 
never  used  in  the  early  period  of  Gothic  foliage.  On  the  other 
hand,  the  broad  flat  leaves  of  water  plants  and  others  of  a  sim- 
ilar character  were  freely  employed,  being  conventionalized 
just  enough  to  preserve  strict  architectural  harmony. 

These  plant  forms  came  into  usage  in  their  full  beauty  only 
at  the  very  end  of  the  transitional  period.  In  the  early  XII 
century  the  capitals  and  string-courses  were  thoroughly  Roman- 
esque in  character  (111.  206),  although  the  crude  Byzantinesque 
surface  decoration  was  often  modified  by  the  addition  of  other 
elements,  strongly  Lombard  in  character,  such  as  grotesques, 
rude  sculptured  figures,  strings,  and  interlaces  (111.  208,  209, 
210).  This  Lombard-Byzantinesque  style  of  ornament  became 
increasingly  popular  until  about  1140;  in  the  second  phase  of 
the  transition,  lioweA'er,  it  passed  out  of  use.  Although  this 
decoration  is  unquestionably  crude  and  unrefined,  it  yet  does 
not  lack  a  certain  rough  grace  (111.  210),  and  among  the  gro- 
tesques that  ran  riot  in  the  corbel-tables  and  cornices  of  the 
early  XII  century,  it  is  possible  to  find  more  than  one  figure 
that  presages  the  charm  of  the  Gothic  gargoyle. 

About  1130  the  acanthus-leaf,  which  had  been  attempted 
occasionally  even  as  early  as  the  first  quarter  of  the  XII  century, 
appeared  prominently  in  the  capitals,  and  speedily  became  one 
of  the  characteristic  ornaments  of  the  style.  The  Byzantine, 
rather  than  the  Roman  version  (111.  207),  was  adopted,  and 
the  leaves  were  seldom  undercut.  At  first  rude  and  archaic 
in  appearance,  these  acanthus-leaves  gradually  came  to  be 
treated  with  greater  freedom,  until,  by  the  middle  of  the  XII 
century,  they  commenced  to  assume  the  most  graceful  forms. 

After  this  the  naturalistic  types  came  little  by  little  to  re- 
place the  acanthus,  though  the  latter  long  persisted,  often  varied 
in  a  beautiful  and  striking  manner,  as  in  certain  capitals  of  the 
south  transept  of  Soissons  (111.  207).  Even  in  fully  developed 
Gothic  capitals,  such  as  the  gracious  example  from  the  nave  of 
Noyon  (111.  211),  the  essential  elements  of  the  Corinthian  order 
were  preserved  in  the  bell-shaped   form  of  the   capital  and  in 

104 


III.  191.  —  Fafade  of  St.  Denis 


MURAL  PAINTING 

the  curled  leaves  which  replace  the  ancient  volutes.  In  this 
Noyon  capital  besides  the  four  leaves,  whose  ends  support  the 
corners  of  the  abacus  and  hence  acquire  a  structural  signifi- 
cance, four  other  similar  leaves  are  added  in  the  center  of  each 
face  to  complete  the  design,  or  perhaps  as  a  reminiscence  of 
the  rows  of  acanthus-leaves  of  the  classical  order.  The  step 
from  this  form  to  the  fully  developed  crocketed  capital  (111.  212) 
was  a  veiy  short  one,  but  was  not  taken  before  the  Gothic  period. 

In  the  design  of  the  capitals,  as  in  every  other  part  of  the 
decoration,  the  churches  of  the  transition  show  a  variety  that 
is  without  limit.  It  is  almost  impossible  to  find  any  two  cap- 
itals, any  two  ornaments,  any  two  profiles  exactly  similar.  This 
wonderful  versatility  gives  to  the  buildings,  especially  of  the 
later  part  of  the  period,  a  variety  of  interest  that  is  paralleled 
only  in  Nature  itself;  and  yet,  thanks  to  the  rigid  subordination 
of  detail  to  the  main  lines  of  construction,  confusion  never 
results. 

Before  we  take  up  the  subject  of  the  accessory  arts,  there 
remains  one  singular  manifestation  of  transitional  ornament  to 
be  noticed.  The  "wheel  of  fortune"  of  the  north  transept  of 
St.  Etienne  of  Beauvais  (111.  213)  is  a  composition  as  full  of 
interest  as  it  is  entirely  without  analogy  among  contemporary 
designs  of  the  He  de  France.  The  spokes  which  subdivide  the 
composition  seem  to  foreshadow  Gothic  tracery  to  a  surprising 
degree.  Even  the  size  of  this  oculus  —  which  is  large  enough 
indeed  to  merit  the  distinction  of  being  called  the  first  rose 
window  —  is  astounding,  for  although  oculi  had  been  com- 
mon in  the  Romanesque  period,  another  circular  window  of 
this  importance  was  hardly  designed  before  the  XIII  century. 


Of  the  accessory  arts,  the  first  in  point  of  chronology  was 
undoubtedly  mural  painting.  Although  only  a  very  few  ex- 
amples of  this  decoration  have  come  down  to  us,  it  unquestion- 
ably played  an  important  part  in  the  adornment  of  buildings, 
not  only  in  the  transitional  but  in  the  Gothic  period.  Until 
the  XII  century  the  art  of  fresco  painting  in  northern  Europe 
remained  what  the   Carolingians  had  made  it.     The  walls  of 

105 


THE   TRANSITION 

churches  seem  to  have  been  covered  with  great  rhythmical  com- 
positions of  figures  of  saints  and  martyrs,  and  the  half-domes 
of  the  apses,  the  tympanums  and  vaults,  in  short  all  those  por- 
tions of  the  church  that  the  Early  Christians  had  usually  treated 
with  mosaic,  were  similarly  adorned.  About  the  middle  of  the 
XII  century,  however,  this  art  underwent  a  transformation  as 
radical  as  that  which  about  the  same  time  affected  architec- 
tural sculpture.  The  figures  became  freed  from  certain  tradi- 
tions, the  gestures  became  more  natural,  the  composition  lighter 
and  more  simple,  although  the  general  character  of  the  design 
remained  strictlv  architectural  and  subordinate  to  the  structural 
requirements  of  the  building.  The  pure  ornament  deserted 
Romanesque  types,  and  adopted  conventionalized  natural  forms. 
The  range  of  color  tones  was  greatly  enriched.  In  the  XIII 
century  the  painted  decoration,  although  retaining  the  improved 
technique  of  the  transitional  era,  became  entirely  subordinated 
to  architecture,  and  the  human  figure  was  relegated  to  an 
almost  wholly  ornamental  role.  But  from  the  end  of  the  XIV 
century,  the  naturalistic  tendencies  that  revolutionized  the  other 
arts  reversed  this  relationship.  The  figure  again  became  pre- 
dominant, and  mural  decorations  resumed  the  character  of 
paintings. 

At  just  what  date  the  art  of  painting  was  transferred  from 
the  walls  to  the  glass  of  the  windows,  is  a  much  debated  ques- 
tion. The  earliest  authentically  dated  stained  glass  windows 
extant  are  of  c.  1140.  It  is  certain,  however,  that  the  art  is 
older.  Even  as  early  as  the  first  centuries  of  the  Christian  era, 
the  Romans  had  formed  windows  of  pieces  of  colored  glass 
mounted  in  perforated  stone  slabs,  and  this  practice  had  been 
perpetuated  by  the  Byzantines.  It  is  probable  that  the  Caro- 
lingians  of  the  IX  century  combined  these  small  pieces  of  glass 
of  various  colors  with  lead  instead  of  with  stone,  forming  thus 
a  sort  of  translucent  glass  mosaic'  These  mosaics  were  then 
gradually  developed  until  figures   and   ornaments   came   to  be 

'  A  passage  in  Floardus,  Hist.  Rem.  Ill,  5,  cit.  Schlosser,  250,  would  seem  to  imply  that 
picture  windows  existed  as  early  as  the  IX  century  in  Champagne.  The  text,  whose  exact  mean- 
ing is  not,  unfortunately,  altogether  clear,  occurs  in  a  description  of  the  cathedral  of  Reims 
erected  by  Hincmar  in  the  IX  centurj':  Tecta  templum  plumbis  cooperint  tabulis,  ipsumque 
templum  pictis  decora\-it  cameris,  jenestris  etiam  illusiravit  litreis,  etc. 

106 


III.  192.  —  Fafade  of  Sens 


STAINED  GLASS 

represented  partly  by  painting  on  the  glass  itself,  partly  by  giv- 
ing the  pieces  of  glass  and  the  lead  interstices  the  form  of  out- 
lines. 

It  must  be  confessed  that  the  documentary  evidence  for 
this  derivation  of  painted  glass  is  scant;  but  from  the  internal 
evidence  of  the  stained  glass  of  the  XII  century  itself,  it  is  pos- 
sible to  deduce  with  confidence  two  conclusions:  the  first,  that 
the  art  of  stained  glass  existed  much  before  the  middle  of  the 
XII  century;  the  second,  that  it  originated  in  France.  The  art 
as  we  find  it  in  the  earliest  dated  examples  at  St.  Denis,  at  Le 
Mans,  at  Notre  Dame  of  Chalons-sur-Marne,  or  at  Sens,  is 
already  at  its  apex.  The  glass  of  the  XIII  century  shows  ad- 
vances in  certain  directions,  but  in  general,  a  decline;  it  may 
be  said  to  compare  with  the  preceding  period  as  works  of  Greek 
sculpture  of  the  IV  century  compare  with  works  executed  in  the 
V  century.  Such  a  highly  developed  art  as  this  glass  of  the  XII 
century  implies,  ipso  facto,  a  long  period  of  growth.  Further- 
more, although  we  have  a  whole  treatise  on  the  art  of  glass  paint- 
ing by  a  certain  monk  Theophilus  who  lived  in  the  XII  century, 
and  although  Suger  in  his  account  of  St.  Denis  has  left  us  a  full 
account  of  the  windows  of  that  abbey,  neither  of  these  authors 
says  anything  of  painted  glass  being  a  new  art.  Finally,  there 
are  extant  in  the  aisles  of  the  cathedral  of  Le  Mans,  at  Notre 
Dame  of  Chalons-sur-Marne,  and  in  the  crypt  of  Bourges,  a 
few  fragments  of  picture  glass,  that,  while  not  authentically 
dated,  still  seem  to  be  earlier  than  any  of  the  dated  examples, 
and  may  be  assigned  with  confidence  to  the  first  phase  of  the 
transition. 

The  claim  of  France  to  have  invented  stained  glass  can  be 
challenged  only  by  Germany;  and,  in  fact,  the  cathedral  of 
Strassburg  contains  some  very  primitive  examples  of  picture 
glass.  It  must  be  admitted  that  French  influence  spread  in 
this  direction  at  a  very  early  date.  In  other  countries  stained 
glass  seems  to  have  made  its  way  hand  in  hand  with  Gothic 
architecture.  There  is  not  a  trace  of  primitive  glass  extant  in 
Italy,  in  Spain,  or  in  England.  The  earliest  stained  glass  I 
can  name  in  Normandy  is  in  the  abbey  of  Lessay  and  must  date 
from  the  third  quarter  of  the  XII  century.     As  for  the  fragments 

107 


THE   TRANSITION 

of  blue  glass  found  at  the  bottom  of  one  of  the  windows  of  S. 
Abondio,  Como,  these  —  as  M.  Dartein  has  already  recog- 
nized '  —  can  not  possibly  be  contemporary  with  the  original 
construction.  Theophilus,  it  is  true,  speaks  of  the  various 
methods  of  making  glass  in  Germany,  Italy,  and  Spain,  but  there 
is  no  reason  to  believe  that  this  author  wrote  much  before  the 
end  of  the  XII  century. 

It  is  usually  stated  in  the  hand-books  that  the  art  of  stained 
glass  developed  in  consequence  of  the  growth  of  Gothic  archi- 
tecture, because  it  was  necessary  to  find  some  means  to  subdue 
the  vast  quantity  of  light  admitted  by  the  great  windows  which 
came  to  characterize  that  style.  As  a  matter  of  fact,  the  case 
was  exactly  the  reverse,  for  in  1140,  when  stained  glass  had 
already  been  perfected,  the  area  of  the  windows  had  not  yet 
been  materially  increased.  It  was  rather  because  the  Gothic 
builders  appreciated  the  new  decoration  in  all  its  architectural 
possibilities  that  they  conceived  the  daring  idea  of  turning  the 
entire  cathedral  into  a  translucent  wall  of  glass  merely  supported 
and  held  together  by  a  stone  framework.  Thus,  next  to  the  rib 
vault,  the  invention  of  painted  glass  may  be  said  to  have  played 
the  most  important  role  in  the  evolution  of  Gothic  architecture. 
It  made  possible  that  suppression  of  the  wall  surface  which  was 
to  be  the  great  advance  of  the  early  Gothic  period. 

And  indeed  when  we  look  at  one  of  these  stained  windows 
of  the  transitional  or  early  Gothic  periods,  we  can  readily  under- 
stand why  the  Gothic  architects  immediately  adopted  them  as 
the  chief  feature  of  their  designs.  Lovelier  color  the  hand  of 
man  has  not  produced.  There  are  times  when  human  art 
seems  to  be  something  more  than  mortal ;  when  it  rises  to  heights 
infinitely  above  the  ordinary  achievements  of  men.  French 
glass  of  the  XII  century  is  such  an  art.  It  is  impossible  to 
stand  in  the  presence  of  these  translucent  mosaics  without  ex- 
periencing a  depth  of  esthetic  emotion  that  at  once  disarms 
the  critical  faculty.  Such  sensuous  beauty  of  tone,  such  rich- 
ness of  color  has  been  equaled  by  no  painter  of  the  Renais- 
sance, by  no  Byzantine  worker  in  mosaics.  Yet  it  is  not  only 
for  their  absolute  beauty,  but  also  for  their  perfectly  architec- 

'  Arch.  Lam.,  495. 
108 


III.  193.  —  Fa9ade  of  Vailly.     (From  Lefevre-Pontalis) 


STAINED    GLASS 

tural  character  that  these  windows  claim  unquaHfied  admira- 
tion. 

In  fact,  the  first  characteristic  of  these  earUest  windows  to 
strike  the  eye  is  the  small  size  of  the  individual  spots  of  color. 
The  separate  pieces  of  glass,  which  are  each  of  one  solid  tone 
though  more  or  less  drawing  is  usually  superposed,  are  seldom 
more  than  an  inch  or  so  in  length,  and  are  often  very  much 
smaller.  The  predominating  colors  are  peculiarly  luscious 
shades  of  rich  reds  and  deep  ultramarine  blues,  but  with  these 
are  mixed,  always  in  very  much  less  quantities,  other  colors, 
such  as  yellow  or  green.  Owing  to  the  small  size  of  the  sep- 
arate pieces,  from  a  distance  the  distinction  between  these  colors 
is  lost;  the  whole  merges  into  a  purple  of  wonderful  richness, 
varying  in  tone  in  different  windows  according  to  the  propor- 
tions of  the  various  colors  used.  This  purple  —  the  veritable 
apotheosis  of  pure  color  —  is  like  no  tone  ever  produced  in  any 
other  manner.  The  pointillistes  of  the  XIX  century  made  a 
clever  discovery  when  they  found  that  instead  of  mixing  their 
colors  on  the  palette,  more  lovely  effects  could  be  produced  by 
placing  beside  each  other  on  the  canvas  small  patches  of  the 
original  colors  and  leaving  the  eye  to  fuse  them.  But  precisely 
the  same  principle  had  been  employed  in  the  glass  of  the  middle 
of  the  XII  century  to  produce  effects  far  more  beautiful  than 
any  dreamed  of  by  Monticelli  or  Childe  Hassam. 

As  a  necessary  consequence  of  this,  which  for  lack  of  a 
better  name  we  may  call  pointilliste,  style  of  coloring,  the  fig- 
ures were  always  small.  In  the  XII  century  a  very  large  part 
of  the  window  surface  was  occupied  with  pure  ornament.  Fig- 
ures were  used  only  in  a  series  of  medallions,  which  whether 
circular,  diamond -shaped,  or  quatref  oiled,  were  disposed  upon 
a  field  of  conventional  design,  and  themselves  formed  a  central 
motive  in  this  design.  From  a  distance  this  purely  conventional 
central  pattern  is  all  that  can  be  perceived.  On  nearer  ap- 
proach, however,  each  medallion  is  seen  to  contain  a  group  of 
figures  illustrating  some  scene  of  sacred  or  legendary  history. 
The  height  of  each  individual  figure  is  usually  only  about  six 
inches  or  so;  the  figures  are  composed  of  a  number  of  pieces  of 
glass  of  different  colors  so  arranged  as  in  no  way  to  acquire 

109 


THE   TRANSITION 

prominence  over  the  background.  The  drawing,  although  often 
good  for  the  age  in  which  it  was  executed,  is  of  no  more  im- 
portance than  the  drawing  in  a  ^^  histler  symphony ;  it  was 
color  which  the  artists  sought  primarily,  and  to  color  the  draw- 
ing was  purposely  subordinated  (111.  214). 

It  is  hardly  necessary  to  point  out  how  infinitely  more  suit- 
able and  architectural  is  this  art  of  the  XII  century  than  the 
great  figure  windows  of  Renaissance  or  modern  times.  A 
stained  glass  window  by  Mr.  La  Farge  for  example,  judged  by 
itself  and  as  a  picture,  may  be  admirable;  the  drawing  may  be 
impeccable,  the  composition  pleasing,  the  colors  harmonious. 
But  the  window  as  a  decoration  is  none  the  less  an  architectural 
anomaly.  The  great  figures  life  size  or  more  in  the  strong  light 
of  the  translucent  material  distract  the  eye  from  all  points  of 
view;  instead  of  being  subordinated  to  the  general  scheme  of 
the  edifice,  these  staring  forius  seem  fairly  to  jump  out  from  the 
wall  surface,  and  at  once  destroy  the  effect  of  the  architecture. 
Injudicious  mural  paintings  may  much  injure  an  architectural 
composition,  but  no  mural  painting  can  possibly  acquire  the 
prominence  and  consequent  power  for  evil  of  a  modern  stained 
glass  window.  Similarly  the  broad  fields  of  solid  color  in  mod- 
ern woi'k,  even  if  —  as  is  seldom  the  case  —  these  colors  be 
rich  and  harmonious  in  themselves,  inevitably  impair  the  archi- 
tectural unity  by  acquiring  undue  emphasis.  The  eye  goes 
not  to  the  structure,  but  to  the  staring  field  of  deep  blue  or  bright 
crimson.  Unrest  and  lack  of  harmony  between  parts  and 
whole  inevitably  result  from  such  over-emphasis  of  an  element 
primarily  decorative.  Thus  the  wisdom  of  the  Gothic  archi- 
tects in  treating  stained  glass  as  a  purely  decorative  art  is  not 
open  to  question.  And  however  much  they  subordinated  the 
glass  to  architectural  requirements,  they  none  the  less  succeeded 
in  creating  windows  which  in  themselves  are  more  beautiful 
than  anything  that  has  since  been  produced. 

That  figures  were  not  altogether  omitted  was  doubtless 
due  partly  to  the  Gothic  taste  for  didactic  representations  of 
sacred  subjects,  partly  to  the  Gothic  love  of  fine  detail.  Fig- 
ures are  infinitely  more  interesting  to  examine  carefully  than 
mere  conventional  patterns.     Accordingly  in  the  windows,   as 

110 


ViC-.5UR-A1.2/lE:    eiuo 


JE>E:TH\Z'Y-^T-MARrr\n     £1135 


>\ZY    G  1115 


BERZy-LE -.5EC      C  11-^0 


TAORJE/i VAE     G  n  Z  2. 


.A\OR.lE/iV;^L     g:12,^  BOyHy^E:J3        G  11<^0 

III.  194.  —  Profiles  of  Abaci 


c 


5 


Gins 


yVvOR.1  E-^VAL,      G  1 1 Z  2. 


C 


DAMElKY     G1155 


3APOJ^/^      GI180 


60Jo>30y^^      G  1J75 


C 


AJZY     Gn75 


5 


r 


501v3S0/i5    G  1IS5- 


III.  19o.  —  Profiles  of  Bases 


SCULPTURE 

in  every  other  part  of  the  church,  the  Gothic  genius  spared  no 
pains  to  give  the  detail  the  most  exquisite  possible  form,  while 
never  allowing  it  to  encroach  upon,  or  obscure,  the  structural 
lines.  Thus  the  separate  pieces  of  glass  combine  to  form  a 
figure ;  the  figures  combine  to  form  a  medallion ;  the  medallions 
combine  to  form  the  main  pattern  of  the  window;  the  windows 
combine  to  decorate  the  wall  surface.  On  entering  the  church 
the  eye  merely  perceives  windows  of  blazing  color  perfectly 
subordinated  to  the  general  architectural  structure;  the  eye, 
however  much  charmed,  is  not  distracted.  On  closer  examina- 
tion the  pattern  of  the  medallions  is  made  out,  but  it  is  only  on 
the  closest  inspection  that  the  groups  of  figures  are  perceived. 
Since  each  of  these  divisions  is  a  delight  in  itself,  as  the  visitor 
approaches  new  and  unexpected  beauties  keep  ever  opening 
before  him. 

Exactly  the  same  laws  of  proportion  govern  the  use  of  sculp- 
ture in  the  transitional  and  early  Gothic  periods,  and  this  art 
was  as  inexorably  subordinated  to  architectural  requirements, 
as  was  the  stained  glass. 

The  origin  of  the  sculpture  of  the  He  de  France  is  a  subject 
of  great  difficulty.  While,  on  the  whole,  we  possess  more  mon- 
umental evidence  for  the  beginnings  of  this  art  than  for  the  origin 
of  stained  glass,  yet  the  early  examples  are  few,  never  surely 
dated,  and  often  show  seemingly  contradictory  tendencies. 
Thus  of  the  numerous  critics  who  have  treated  this  subject  no 
two  are  in  accord.  One  fact,  however,  is  indisputable.  The 
opening  of  the  second  phase  of  the  transition  was  marked  by  the 
appearance  in  the  He  de  France  of  a  school  of  sculpture  that 
in  its  technique,  its  artistic  sense,  its  virility,  had  nothing  in 
common  with  the  sculptors  who  during  the  first  phase  of  the 
transition  had  crudely  carved  figures  and  grotesques  on  capi- 
tals, corbel-tables,  or  cornices.  The  nearest  approach  to  pure 
sculpture  to  be  found  in  the  He  de  France  during  the  first  half 
of  the  XII  century  is  perhaps  the  wheel  of  fortune  of  the  north 
transept  of  St.  Etienne  of  Beauvais  (111.  213).  But  it  is  only 
necessary  to  compare  the  poverty  of  invention  and  technique 
displayed  in  these  rude  figures  with  the  majestic  forms  which 
adorn  the  west  portals  of  Chartres  (HI.  215)   or   St.  Denis,  to 

111 


THE   TRANSITION 

appreciate  the  gulf  that  separates  the  two.  There  is  nothing 
in  the  sculptures  of  the  early  XII  century  to  show  any  remark- 
able growth,  or  in  any  way  to  foreshadow  the  achievement  of 
the  last  phase  of  the  transition.  It  seems  certain  therefore  that, 
unlike  stained  glass,  the  sculpture  of  the  royal  domain  was  im- 
ported from  abroad,  though  it  is  by  no  means  obvious  from 
whence  it  came. 

During  the  XII  century  there  flourished  in  the  south  of 
France  several  schools  of  sculpture,  of  which  the  two  most  im- 
portant centered  in  Provence  and  Burgundy,  although  the  school 
of  Languedoc  with  its  chief  centers  at  Toulouse  and  Moissac 
is  hardly  less  intei'esting.  While  the  chronology  and  genealogy 
of  all  these  schools  are  unknown  and  while  their  monuments 
are  assigned  to  the  most  widely  varying  periods  by  different 
authorities,  there  is,  nevertheless,  one  central  fact  which  con- 
nects them  all  —  the  revival  of  classic  influence.  There  can 
be  no  doubt  that  the  XII  century  renaissance  of  French  sculp- 
ture, wherever  it  originated,  came  about  directly  through  the 
study  of  the  Gallo-Roman  remains,  so  numerous  in  certain 
portions  of  the  country.  All  the  schools,  while  diftering  con- 
siderably from  each  other  in  point  of  technique  and  detail, 
show  unmistakably  this  classical  influence,  and  even  as  late  as 
the  XIII  century  certain  statues  of  the  cathedral  of  Reims 
prove  that  the  sculptors  of  the  He  de  France,  even  in  the  Gothic 
period  continued  to  study  directly  the  antique.  Further  than 
the  fact  of  the  common  classic  character,  it  is  safe  to  say 
that  the  school  of  the  He  de  France  shows  points  of  contact 
with  all  the  schools  of  the  South,  while  at  the  same  time  its 
most  important  characteristics  are  peculiar  to  itself. 

The  school  of  Provence,  perhaps  in  consequence  of  the  great 
number  of  Roman  remains  to  be  found  in  that  region,  was 
influenced  by  classic  tendencies  even  more  strongly  than  its  sister- 
schools.  Largely  on  the  strength  of  this  fact  Herr  Voge  recog- 
nizes this  school,  as,  so  to  speak,  the  parent  of  French  sculpture. 
He  finds  a  great  similarity  between  the  tympanum  of  St.  Tro- 
pliime  of  Aries,  and  the  tympanum  of  the  western  portal  at 
Chartres  —  a  similarity  assuredly  undeniable,  but  which  per- 
haps rests  rather  on  the  iconography  and  the  grouping  of  fig- 

112 


:D£LL£f 0/1  TAl/^E     C 1 1 2.5 


^ 


(P? 


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\ 


^OlSSOTH^     G1185 


C0UR7V\ELL£^    G  j  ]  ^ 0 


ST  LE:qERrAUX-DO{6 
C  1090 

III.  196.  —  Profiles  of  Interior  String-Courses 


AZY    C 


BERZY-LE-e>EC  Gil 40 


BRE/iY    G  1 1 Z-5 


Vy\lLLY     G  11Z5 


£)-E:THlZT-  ST-ZAARTl/^  ARCY-^AT/^TE-RESTlTUr- 

G113S  G1180 

III.  197.  —  Profiles  of  Exterior  String-Courses 


ORIGINS   OF   FRENCH   SCULPTURE 

ures,  —  a  tradition  common  to  all  Christendom  —  than  on  the 
details  of  technique  and  execution,  by  which  the  fact  of  relation- 
ship of  style  must  be  established.  Basing  his  argument  upon 
this  somewhat  questionable  assumption,  Herr  Voge  concludes 
that  the  sculpture  of  the  He  de  France  originated  at  Chartres 
and  was  derived  directly  from  that  of  Provence.  He  recog- 
nizes, however,  above  all  the  creative  originality  of  the  "head 
sculptor"  and  of  his  assistants  at  Chartres.  The  style  of  the 
sculptures  of  Chartres  was  adopted,  he  holds,  at  St.  Denis,  but 
was  modified  by  influence  from  Burgundy  and  Languedoc. 

This  theory  has  been  sharply  attacked  by  recent  writers, 
chief  among  whom  is  M.  de  Lasteyrie.  Relying  mainly  on 
arguments  of  comparative  style  M.  de  Lasteyrie  assigns  the  west 
portal  of  Chartres  to  the  extraordinarily  late  date  1150-75.' 
The  date  of  the  north  aisle  of  the  cloister  at  Aries  he  believes 
he  has  established  with  certainty  as  c.  1180,  and  by  a  compar- 
ison of  style  he  concludes  that  the  west  portal  of  Aries  must 
date  from  1180-90.  The  earliest  sculptures  of  St.  Gilles  he 
assigns  to  c.  1150.  Since  an  earlier  monument  obviously  could 
not  have  been  derived  from  a  later,  this  critic  concludes  that 
the  school  of  the  He  de  France  could  not  have  originated  in 
Provence.     This  origin,  he  consequently  seeks  in  Burgundy. 

Many  of  M.  de  Lasteyrie's  dates,  I  confess,  seem  to  me  ex- 
treme and  untenable.  His  work  appears  chiefly  valuable  for 
having  established  the  strong  presumption,  if  not  the  certainty, 
that  no  monument  of  Provence  that  is  left  to  us  can  be  older 
than  the  earliest  sculpture  of  the  royal  domain.  Hence,  Herr 
Voge's  theory  at  once  falls  to  the  ground.  M.  de  Lasteyrie  is 
probably  correct  in  seeking  the  origins  of  the  French  school  in 
Burgundy,  although  he  cannot  be  said  definitely  to  have  proved 
his  point. 

However  the  school  of  the  He  de  France  came  into  being, 
when  once  established  it  immediately  displayed  the  most  marked 
and  individual  characteristics.  The  human  form  was  treated 
in  precisely  the  same  restrained  spirit  as  were  the  leaves  of  plants 

'  For  a  short  discussion  of  this  chronology  see  hst  of  monuments,  p.  309.  I  find  it  impos- 
sible to  accept  M.  de  Lasteyrie's  date  for  this  portal  which  may,  I  believe,  be  assigned  with  con- 
fidence to  the  year  1145. 

113 


THE   TRANSITION 

in  the  purely  ornamental  decoration  of  the  period.  Just  as 
the  flora  had  been  conventionalized  to  suit  it  for  its  position  on 
the  capitals,  so  the  human  figure  "was  conventionalized  to  adapt 
it  to  architectural  needs.  Thus  the  statues  in  the  jambs,  where 
vertical  lines  were  necessary,  were  extremely  elongated,  and 
the  vertical  eft'ect  was  further  increased  by  the  conventional 
folds  of  the  long,  clinging  drapery.  So  as  not  to  disturb  these 
lines  the  hands  and  arms  were  kept  close  to  the  body  in  a  re- 
strained gesture;  it  seems  as  if  the  sculptor  had  been  unwilling 
to  sacrifice  to  the  least  degree  the  vertical  contours  of  his  com- 
position (111.  215). 

It  is  perfectly  evident  that  this  elongation  of  the  figure  was 
done  purposely  for  architectural  effect.  That  the  sculptors 
knew  well  that  these  were  not  the  true  proportions  of  the  human 
figure  is  shown  by  the  tympanum  of  the  portal  of  Chartres, 
where,  since  it  was  required  to  emphasize  the  horizontal  line, 
the  figures  are  made  very  broad  in  proportion  to  their  height. 
Precisely  as  in  the  case  of  floral  carving,  the  sculptor  took  from 
nature  only  a  hint  which  he  conventionalized  just  sufficiently 
to  suit  his  needs. 

These  statues  are  consequently  not  realistic,  and  it  would 
be  a  mistake  to  look  at  them  in  the  spirit  in  which  we  study  a 
portrait  by  Holbein.  They  are,  on  the  contrary,  eminently 
idealistic  and  typical,  in  this  respect  being  strangely  removed 
from  the  tendencies  of  modern  art.  As  the  Greek  sculptors  of 
the  Doric  school  in  all  their  statues,  however  varied  the  subject, 
ever  sought  to  express  only  the  perfection  of  the  body,  so  the 
early  Gothic  sculptors  sought  to  express  only  the  perfection  of 
the  soul.  Their  statues  are  thus  not  highly  individualized. 
The  same  serenity,  the  same  meekness,  the  same  gentle  dignity 
invests  saint  and  martyr,  bishop  and  apostle,  and  all  alike  are 
thoroughly  imbued  with  the  serene  spirit  of  medieval  religion. 
Rows  of  such  statues  form  a  most  dignified  and  impressive 
entrance  to  the  house  of  God.  The  worshiper,  in  spite  of 
himself,  must  be  moved  upon  entering  the  church  to  pass  these 
lines  of  majestic  and  dignified  figures,  whose  outward  forms  so 
well  express  internal  holiness  and  sanctity. 

Thus  the  sculptures  of  the  XII  century  are  something  more 

114 


BETHIZY-^T-PIERRE      G112.5 


FO/iTEj^OY    eii4o 


A^Q/iTlq/^Y-LE/^c;RAl/s  Giieo 


SO15S0/^S      GUTS 


COULQ/iGES    GH60  AIZY      G  1170 

IUj.  198.  —  Profiles  of  Cornices 


u    ^ 


L. 


U^ 


COULOAiCE^      C  1155 


LHUY^    Gil 40 


J 


BE-RJZY-LE-3EC     GlHO-  SOISAO/ia    GllSS 


In 


M^  (y-" 


CUI^E    G1160  V;^1LLY     eil76 

III.  199.  —  Profiles  of  Archivolfs  of  Arches 


ICONOGRAPHY 

than  mere  architectural  ornaments,  they  are  greater  than,  for 
example,  the  sculptures  of  ancient  Egypt  which,  although  quite 
satisfactory  as  architectural  accessories,  yet  beside  these  French 
statues  seem  cold  and  lifeless.  The  French  sculptures  for  all 
their  lack  of  realism,  for  all  their  subordination  to  the  architec- 
ture, are  none  the  less  instinct  with  life.  x\l though  each 
face  expresses  the  same,  or  a  kindred  emotion,  although  there 
is  no  delineation  of  individual  character,  yet  a  single  sentiment 
is  denoted  in  a  thousand  different  ways,  and  there  is  no  stereo- 
typed cast  of  features.  Bearded  saint  stands  next  to  beardless 
monk,  youthful  virgin  by  aged  martyr.  All  shades  and  con- 
ditions of  men  and  women  are  represented  with  as  infinite  a 
variety  of  feature  as  in  life  itself. 

In  many  of  these  faces  there  is  the  greatest  beauty  —  a 
beauty  at  first  a  little  baffling  for  us  of  the  XX  century,  who 
have  been  educated  on  the  regular  features  and  classic  profiles 
of  Greek  sculpture.  But  the  longer  these  statues  are  studied,  the 
greater  will  be  the  realization  of  their  esthetic  charm.  No  art 
demands  longer  or  more  painstaking  study  for  appreciation  than 
XII  century  sculpture,  but  no  art  brings  a  greater  or  surer  reward 
for  application.  As  these  works  grow  more  familiar,  the  features 
that  at  first  seemed  archaic  and  crude  assume  an  almost  celestial 
radiance;  the  drapery  which  seemed  stiff  and  conventional  is 
seen  to  fall  in  folds  of  the  most  exquisite  grace;  and  the  very 
distortion  of  anatomy  seems  to  lend  added  dignity  and  charm. 

To  understand  and  appreciate  the  stained  glass  and  sculp- 
ture of  the  Middle  Ages  it  is  necessary  to  know  something  of  the 
subjects  represented  and  the  manner  of  presenting  them.  An 
adequate  study  of  medieval  iconography  would  require  several 
volumes  by  itself,  since  it  would  necessitate  a  thorough  inves- 
tigation of  the  vastly  complicated  and  diflBcult  subjects  of  the 
symbolism  and  the  legendary  and  apocryphal  lore  of  the  Middle 
Ages.  Moreover,  it  would  require  a  separate  account  for  the 
XII,  XIII,  XIV,  and  XV  centuries  each,  for  iconography  changed 
and  developed  as  quickly  as  technique.  Lack  of  space  clearly 
makes  impossible  any  such  study  here,  and  I  can  only  sketch 
hurriedly  a  few  of  the  more  salient  principles  which  governed 
pictorial  composition.     I  shall  try  to  describe  iconography  as 

115 


THE   TRANSITION 

it  was  at  the  best  period  of  the  XIII  century,  and  I  believe  in 
general  the  broad  facts  will  be  found  true,  though  in  perhaps 
less  degree,  for  the  XII  and  XIV  centuries. 

Richard  Wagner  devised  a  new  form  of  opera.  He  pro- 
duced effects  of  the  most  poignant  emotion  by  means  of  remi- 
niscences and  repetitions  of  certain  musical  phrases.  Brunnhilde, 
before  flinging  herself  on  the  blazing  funeral  pyi'e,  sings  the  old 
familiar  call  of  the  Walkiiren;  Siegfried's  funeral  march  passes 
in  review  the  life  of  that  hero ;  the  dying  Tristan  sings  snatches 
of  the  love  duet  with  Isolde.  Every  one  is  familiar  with  the 
wonderful  results  Wagner  has  obtained  by  the  use  of  this  device. 

"  Nessun  maggiore  dolore 
Che  ricordarsi  del  tempo  felice 
Nella  miseria." 

John  Milton,  several  centuries  before,  had  made  use  of 
precisely  this  same  device  of  reminiscence.  No  music  other 
than  the  melody  of  his  verse  was  at  the  command  of  the  poet, 
but  he  employed  allusion  to  things  familiar  to  the  reader  with 
much  the  same  effect  that  Wagner  used  themes  made  known  in 
earlier  passages  of  his  own  music-dramas.  Macaulay  finely 
appreciated  this  side  of  Milton's  technique,  when  he  pointed 
out  that  many  of  the  best-known  passages  of  "Paradise  Lost" 
are  little  more  than  muster-rolls  of  proper  names.  "They  are 
not  always  more  appropriate  or  melodious  than  other  names, 
but  they  are  charmed  names.  Every  one  of  them  is  the  first 
link  in  a  long  chain  of  associated  ideas.  Like  the  dwelling- 
place  of  our  infancy  revisited  in  manhood,  like  the  song  of  our 
country  heard  in  a  strange  land,  they  produce  upon  us  an  effect 
wholly  independent  of  their  intrinsic  value.  One  transports 
us  back  to  a  remote  period  of  history.  Another  places  us  among 
the  novel  scenes  and  manners  of  a  distant  region.  A  third  evokes 
all  the  dear  classical  recollections  of  childhood,  the  school  room, 
the  dog-eared  Virgil,  the  holiday,  and  the  prize.  A  fourth  brings 
before  us  all  the  splendid  phantoms  of  chivalrous  romance,  the 
trophied  lists,  the  embroidered  housings,  the  quaint  devices, 
the  haunted  gardens,  the  enchanted  forests,  and  the  smiles  of 
rescued  princesses." 

116 


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LAfFAUX         G  1140  <50]5&Q/^a      G1185 

III.  200.  —  Profiles  of  Archivolts  of  Windows 


J 


Vrc-SURrAlS/iE     G.  1 1 1 0 


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n 


COULO/iGES        C  1135  COULOISY     G1165 

III.  201  —  Profiles  of  Archi volts  of  Doorways 


"THE    BIBLE    OF   THE   POOR" 

Now  this  same  device  of  reminiscence  the  sculptors  and 
glass  painters  of  the  Middle  Ages  applied  to  the  cathedral. 
Ever3n\'here  from  pavement  to  vault  thousands  of  statues  and 
thousands  of  window  paintings  called  to  mind  the  best  loved 
scenes  of  Bible  and  Golden  L,egend.  We  have  all  experienced 
the  thrill  of  pleasure  that  comes  at  the  recognition  of  a  favor- 
ite subject  in  a  painting;  to  the  little-read  man  of  medieval 
times  this  thrill  must  have  been  far  more  intense  when  he  saw 
such  ample  representations  of  the  only  subjects  to  which  his 
learning  extended.  He  must  have  experienced  a  pleasure,  the 
extent  of  which  we,  who  have  completely  lost  touch  with  all 
this  medieval  mythology,  can  but  dimly  imagine. 

That  the  cathedral  was  the  Bible  of  the  poor,  as  has  been 
beautifully  said,  is,  then,  in  part  true.  There  can  be  no  doubt 
that  sculptures  and  glass  paintings  were  favored  by  the  clergy 
as  stimulating  interest  in  sacred  subjects.  These  works  of  art, 
however,  were  not  intended  to  instruct  the  ignorant.  The  poor 
man  might  here  find  allusions  which  would  constantly  refresh 
his  memory  on  subjects  with  which  he  was  already  acquainted; 
but  to  believe  that  his  knowledge  could  be  materially  increased 
by  the  mere  contemplation  of  such  pictured  scenes,  is  to  credit 
the  medieval  peasant  with  a  supernatural  amount  of  acumen. 
Many  of  the  subjects  are  so  exceedingly  obscure  that  to  decipher 
them,  even  to-day,  often  baffles  the  certainly  developed  critical 
perceptions  of  archaeologists  who  have  given  up  their  life  to 
this  work,  and  who  are  fairly  steeped  in  all  the  turns  and 
vagaries  of  medieval  thought. 

It  was  not  to  educate  the  peasant  that  pictured  history  was 
spread  over  the  cathedral.  How  simple  was  his  understanding 
the  Church  well  knew,  and  when  it  was  a  question  of  in- 
structing him,  she  had  recourse,  not  to  the  profound  scholastic 
theology  reflected  in  the  decoration  of  the  cathedral,  but  to  the 
nai've,  almost  grotesque,  conceptions  of  the  miracle  plays.  For 
never  in  ancient  Egypt  was  the  religion  of  the  common  people 
more  sharply  differentiated  from  that  of  the  priesthood  than  in 
medieval  Europe.  This  important  fact  is  often  slighted,  because 
the  popular  religion  has  vanished,  leaving  practically  no  traces 
of  its  existence  save  only  in  the  miracle  play  and  the  tradition 

117 


THE   TRANSITION 

of  certain  festivals,  such  as  the  fete  of  the  fool  or  of  the  ass;  it 
is  only  the  religion  of  the  elecks  and  doctors  that  has  come  down 
to  us  in  works  of  literature.  The  priests  never  purposely  shut 
the  masses  from  knowledge;  but  medieval  scholastic  philos- 
ophy, as  any  one  who  has  read,  ever  so  casually,  in  these  for- 
midable tomes  can  appreciate,  is  not  food  for  an  undeveloped 
intelligence.  Since  the  medieval  Church  did  not  consider  that 
knowledge  was  necessary  to  salvation,  but  held  on  the  contrary 
that  future  safety  could  be  assured  by  faith  and  good  works, 
it  was  perfectly  logical  that  the  clerks,  the  intellectual  class, 
should  follow  out  their  own  theology  and  leave  the  people  to 
understand  what  they  could.  How  little  this  was,  is  shown  by 
the  miracle  play.' 

Now  it  is  not  at  all  the  simple  popular  religion  that  is  re- 
flected in  the  statuary  and  stained  glass  of  the  Gothic  church; 
it  is,  on  the  contrary,  the  most  subtle,  the  most  intellectual  type 
of  scholastic  philosophy.  All  that  was  deepest,  all  that  was 
most  complex,  in  the  learned  thought  of  the  age,  finds  its  ex- 
pression in  the  Gothic  iconography.  It  is  therefore  necessary 
to  conclude  that  the  imagery  of  the  cathedral  was  intended  to 
appeal  not  to  the  masses  but  to  the  intellectually  cultivated. 
VioUet-le-Duc  made  a  profound  error  in  asserting  the  popular 
character  of  the  Gothic  church.  Misled  by  the  example  of 
the  great  archaeologist,  practically  every  critic  ^  who  has  since 
written  on  the  subject  has  insisted  upon  this  supposed  popular 
spirit  of  the  imagery,  and  has  imagined  the  serfs  of  the  XIII 
century  as  being  highly  edified  at  conceptions  whose  subtle 
mysticism  is  beyond  the  most  astute  intellects  of  the  present 
day.  This  is  a  radical  and  fundamental  misconception  of  the 
spirit  of  Gothic  iconography.  In  all  the  imagery  of  the  cathe- 
dral, probably  the  only  trace  of  distinctly  popular  religion  to 
be  found  is  in  the  monsters  and  grotesques  that  climb  among 
the  gargoyles  and  buttresses,  or  peer  over  the  balustrades;  all 
the  serious  representations  are  preeminently  scholastic,  although 

'  Miracle  plays  were  often  written  by  clerks  and  not  infrequently  contained  recondite  allu- 
sions.    Their  general  character,  however,  was  distinctly  popular. 

^  The  credit  for  ha\-ing  established  the  scholastic  character  of  Gothic  imagery  is  due  solely 
to  M.  Male,  who,  however,  strangely  enough  hesitates  to  deny  that  the  people  comprehended 
the  iconography. 

118 


A\ORlE/lVAL        G  11^2. 


BERZY-LE-^EC    GIl^O 


BELLEFO/iTAlAE    Gil  2.5 


BELLEFO/lTAI/iE  G  112.5 


AA\5LE/^Y     G  1180 


ARCY  -SAl  ATE-  KESTI T  U  TE 
G1I80 


BELLEFQATAl/iE    G  11L5 


VEUlLLY-LA-PorER.lE 
G  12.00 


III.  202.  —  Profiles  of  Transverse  Ribs 


/AOK]E:^NAL    C\\?.Z  BERZY-Le-SEC     G  1140 


XJTX 


vVORIE/IVAL    i>T  LEU  D'E£>5ERE7iT 
G  ]l^Z  CUSO 


BERZY-LE-JbErC    G  11-^0 


BUS,5]ARE5      G  J160 


BELLEFO/ITAl  A(  E    G  1 1  ^.5 


DU5.61AB-E2)      C  1160 


£)ELLEFO/^TAl/iE     G  112.5 


DR.E:/^Y     G  llA-5  GOULOAGEvS        G  1170 

III.  203.  —  Profiles  of  Diagonal  Ribs 


UNITY   OF   THE   CATHEDRAL   IINIAGERY 

rarely,  as  in  certain  of  the  guild  windows  of  Chartres  and 
Bpurges,  the  ecclesiastical  and  popular  seem  to  approach  so 
closely  to  one  another    as  to  be  well-nigh  indistinguishable. 

In  a  recent  work  of  great  brilliance,  M.  Male  has  set  in  a 
clear  light  the  general  thought  of  the  medieval  designers.  He 
has  pointed  out  that  the  XIII  centuiy  was  above  all  the  age  of 
encyclopedias,  an  age  when  men  delighted  in  attempting  to 
gather  into  one  compendium  all  human  knowledge.  A  monk 
planning  to  write  a  history  of  his  own  times  would  almost  in- 
variably commence  with  the  creation  of  the  world;  Vincent  of 
Beauvais  even  went  so  far  as  to  try  to  collect  the  entire  sum  of 
all  human  knowledge,  and  catalogue  it  under  the  head  of  four 
"mirrors" — the  mirrors  of  nature,  of  science,  of  morals,  and 
of  history.  Now  this  same  encyclopedic  tendency  is  notice- 
able in  the  pictorial  compositions  of  the  cathedral.  It  seems  to 
have  been  the  aim  to  reproduce  an  image  of  everything  in  the 
Universe.  Never  (except  where  exigencies  of  space  demanded) 
were  one  or  two  apostles  depicted,  but  always  all  twelve;  the 
windows  showed  not  one  scene  from  the  life  of  a  saint,  but  a 
whole  series  representing  the  entire  history  of  the  holy  man 
from  his  birth  to  his  death;  Heaven  never  appears  without 
Hell;  and  so  on  throughout  the  entire  category.  Ruskin,  in 
whose  writings  such  brilliant  flashes  of  light  occasionally  shine 
amid  so  much  darkness,  divined,  rather  than  comprehended,  a 
unity  in  the  fa9ade  of  Amiens;  but  it  remained  for  M.  Male 
to  establish  as  a  scientific  fact,  that  all  the  imagery  of  each 
cathedral,  all  the  various  scenes  represented  in  the  glass  of  the 
windows,  the  sculptures  of  the  portals  and  of  the  fa9ade,  far 
from  being  unrelated  or  chance  compositions,  all  combine  among 
themselves  to  produce  a  single  great  Avhole;  and  that,  in  short, 
this  grand  composition  in  a  general  way  consists  of  four  great 
parts  corresponding  to  the  four  mirrors  of  nature,  science,  morals, 
and  history  of  the  encyclopedia  of  Vincent  of  Beauvais.^ 

This  grandiose  conception,  which  outside  of  the  Divina  Corn- 
media  finds  no  parallel  in  art,  to  the  sophisticated  world-child 

'  It  should  not  be  understood  from  this,  of  course,  that  the  Gotliic  artists  set  out  to  illustrate 
Vincent  of  Beauvais.  It  is  merely  that  both  gave  expression  in  different  forms  to  the  same  scho- 
lastic philosophy  which  was  the  common  heritage  of  the  time. 

119 


THE   TRANSITION 

of  the  XX  century  seems  at  first  somewhat  over-naive  —  at 
once  too  simple  and  too  ambitious  —  just  as  a  similar  impres- 
sion is  ordinarily  produced  on  first  acquaintance  with  Dante's 
great  poem.  It  is  necessary  to  approach  closely,  to  study  care- 
fully the  masterly  manner  in  which  this  colossal  design  is  exe- 
cuted, the  sure  grasp  by  which  so  much  divergent  material  is 
reduced  to  a  strict  unity,  in  order  to  appreciate  the  true  gran- 


h 

/-v^ 

^ 

/C 

lauii 

on 

,    ! 

;-J 

t. 

^             -^             .ZA             J!^jk 

III.  205.  —  Arched  Corbel  Tables  of  Dravegny  and  St.  fitiennc 
of  Longmont 

deur  of  such  a  composition.  The  XIII  century  was  an  age  that 
delighted  above  all  in  orderly  arrangement,  and  this  taste  found 
its  fullest  expi'ession  in  the  disposal  of  the  imagery  of  the  cathe- 
dral. Except  in  Dante,  such  mastery  of  composition  has  never 
elsewhere  been  achieved  in  the  entire  realm  of  art.  To  put 
together  in  one  unified  composition  such  a  vast  mass  of  little 
related  subject  matter,  to  group  the  lesser  about  the  greater, 
to  emphasize  the  more  important  parts,  to  shape  the  whole  into 
a  perfectly  logical,  comprehensible  design,  a  grand  hymn  in 
praise    of    creation  —  this    was    a    task    of    almost    inconceiv- 

120 


III.  204.  —  Chevet  of  Noyou 


4 

W 

1     ' 

d 

-J" 

a 

s" 

3 

^:       ■■  ■  , 

Dh 

(^ 


o 


< 


SYMBOLISM 

able  difficulty,  but  one  which  the  XIII  century  triumphantly 
achieved. 

One  of  the  chief  means  employed  to  establish  this  unity  of  the 
imagery  was  the  use  of  allegory.  To  the  great  minds  of  the 
Middle  Ages,  all  the  world,  from  its  largest  principles  to  its 
minutest  detail,  was  only  a  symbol.  This  mystic  philosophy, 
this  allegorical  interpretation  of  the  universe,  had  its  begin- 
ings  even  in  the  New  Testament;  it  was  much  developed  by 
the  early  Church  fathers,  especially  by  St.  Jerome;  and  in  the 
XIII  century  it  had  become  a  developed  system  of  the  most  sur- 
prising complexity,  recognized  as  an  official  dogma  of  the  Church. 
Much  of  this  mystic  interpretation,  particularly  in  its  more 
poetic  forms,  had  begun  as  the  individual  fancy  of  some  con- 
templative soul ;  but  the  encyclopedic  nature  of  medieval  thought 
gathered  together  all  these  fragments,  and  formed  out  of  them  a 
comprehensive  system  which  became  an  essential  part  of  scho- 
lastic philosophy. 

The  key  to  the  allegory  of  the  world  was  sought  in  the  Bible, 
the  book  of  double  meaning,  in  which  God  was  believed  to  have 
placed  the  solution  of  all  mysteries,  if  men  could  only  compre- 
hend. Thus  for  the  medieval  mind,  roses  were  not  only  a  flower, 
but  they  were  the  symbol  of  the  blood  of  martyrs,  since  it  is 
written:  "Roses  wither  near  the  living  waters."  Thistles  sig- 
nified the  boldness  of  vice,  since  according  to  Isaiah:  "In  their 
house  shall  spring  forth  the  thorn  and  the  thistle."  Chaff 
symbolized  sinners,  for  it  is  written  in  Job:  "They  shall  be  like 
chaff  before  the  face  of  the  wind." 

But  many  of  the  most  ingenious  and  beautiful  allegories 
that  the  Middle  Ages  have  left  us  originated  in  pure  fancy. 
Although  God  had  placed  the  key  to  everything  in  the  Bible, 
yet  the  soul  of  the  Middle  Ages  in  its  passionate  longing  for 
mysticism,  when  unable  to  find  the  clue  in  the  sacred  book, 
sometimes  allowed  itself  to  wander  far  from  the  scriptural  text. 
For  the  rapt  contemplation  of  the  mystic  of  the  XIII  century, 
every  being,  every  object  in  the  world,  became  a  word  full  of 
meaning.  In  his  conception  the  ignorant  man  looks,  sees  the 
figures,  the  mysterious  letters,  and  understands  nothing  of 
their  significance.     But  the  wise  man  rises  from  things  visible 

121 


THE   TR-\NSITION 


to  things  invisible;  in  reading  in  Nature  he  reads  in  the  thought 
of  God. 

Adam  of  St.  Victor,  seated  in  the  refectory  of  his  monastery, 
holds  in  his  hand  a  nut.  "What  is  a  nut,"  says  he,  "but  the 
image  of  Jesus  Christ.^  The  green  and  flesh-like  burr  which 
covers  it  is  His  flesh.  His  humanity.  The  wood  of  the  shell, 
that  is  the  wood  of  the  ci'oss  upon  which  this  flesh  suffered. 


III.  '207.  —  Capital  of  South  Transept  of  Soissons 

But  the  interior  of  the  nut,  which  is  food  for  man,  that  is  His 
hidden  divinity."  Thus  beneath  every  physical  object  was 
thought  to  be  concealed  the  symbol  of  the  sacrifice  of  Jesus, 
the  idea  of  the  Church,  the  image  of  the  virtues  and  vices.  The 
spiritual  and  the  physical  world  were  thought  of  as  forming 
only  one  single  whole.' 

Hugh  of  St.  Victor  contemplates  a  dove,  and  immediately 
thinks  of  the  Church.  The  dove  has  two  wings,  as  there  are 
for  the  Christian  two  kinds  of  life,  the  active  and  the  contempla- 

■  Male,  Art  Rel.,  p.  46. 
122 


III.  208.  —  Capitals  of  Ambulatory,  Morienval 


MYSTICISM 

tive.  The  blue  feathers  of  these  wings  stand  for  thoughts  of 
Heaven.  The  mottled  color  of  the  rest  of  the  body,  which 
makes  us  think  of  a  stormy  sea,  symbolizes  the  ocean  of  human 
passions  on  which  the  Church  is  tossed  about.  Why  has  the 
dove  yellow  eyes  ?  Since  yellow,  the  color  of  ripe  fruits,  stands 
for  experience  and  maturity,  the  yellow  eyes  of  the  dove  are  the 
look  full  of  wisdom  that  the  Church  throws  upon  the  future. 
If  the  dove  has  red  feet,  it  is  because  the  Church  advances  across 
the  centuries,  her  feet  stained  by  the  blood  of  martyrs.* 

Not  only  the  objects,  but  also  the  natural  phenomena  of 
the  Universe  were  considered  as  symbolic.  The  sun,  the  con- 
stellations, light,  the  evening,  the  seasons,  all  spoke  a  language 
full  of  allegorical  meaning  to  the  medieval  mystic.  In  winter, 
when  the  days  grow  short  and  sad,  when  night  seems  about  to 
triumph  forever  over  day,  the  Middle  Ages  thought  of  the  long 
centuries  of  twilight  that  preceded  the  coming  of  Christ.  These 
weeks  of  December  were  called  Advent  (Adventus)  and  the 
waiting  of  the  Old  World  for  the  coming  of  light  was  clearly 
expressed  in  the  special  liturgies  for  the  season.  And  through- 
out the  year,  days,  nights,  seasons,  were  similarly  made  the 
reflection  of  the  divine  tragedy.^ 

Space  will  not  permit  more  examples  of  this  mystic  reason- 
ing, and  I  can  only  refer  the  reader  for  a  fuller  account  to  the 
excellent  work  of  M.  Male  who  has  combined  fine  scholarship 
with  deep  sympathy  and  a  style  of  great  charm,  in  treating  of 
this  fascinating  subject.  Suffice  it  to  say  that  this  poetic,  mystic 
conception  of  life  permeated  all  medieval  thought,  and  formed 
the  true  basis  of  the  best  intellectual  activity  of  the  Middle 
Ages. 

Now,  since  all  nature  was  thus  considered  as  a  symbol  and 
the  imagery  of  the  cathedral  was  intended  to  reflect  not  only 
all  nature  but  all  knowledge,  it  is  not  surprising  that  such  subtle 
allegorical  reasoning  should  be  applied  to  the  decoration  of  the 
church  in  all  its  parts.  And,  in  fact,  mysticism  underlay  not 
only  the  general  composition  of  the.  imagery,  but  even  its 
apparently  most  minute  and  casual  details. 

Just  how  far  this   intentional   symbolism  was   carried  has 

'  Ibid.  ^  Op.  cit. 

123 


THE   TRANSITION 

been  much  discussed.  In  the  greater  number  of  the  serious 
figures  of  statuary  this  thought  was  evidently  present;  on  the 
other  hand  in  the  flora  of  Gothic  decoration  the  artist  seems 
to  have  worked  for  the  love  of  art  without  hidden  meaning. 
Also  in  the  gargoyles  and  grotesques,  popular  imagination  un- 
doubtedly held  full  sway,  and  it  is  impossible  to  admit  the 
claim  of  certain  archaeologists,  that  here,  too,  is  hidden  a  moral 
lesson.  There  are  even  a  few  windows  which  evidently  have 
no  other  purpose  than  to  recall  the  events  or  characters  which 
they  portray,  although  the  vast  majority  are  quite  as  evidently 
intended  to  suggest  not  only  the  reality  which  they  represent, 
but  also  another  reality  of  which  the  first  was  merely  the  shadow 
in  the  thought  of  the  time.  Between  these  two  classes  —  the 
one  clearly  symbolic,  the  other  clearly  non-symbolic  —  there 
stands  a  third  class  of  images  which  may  or  may  not  be  allegor- 
ical. Modern  writers  have  fairly  out-mystified  the  Middle 
Ages  in  inventing  subtle  interpretations  of  these  supposed  alle- 
gories. All  such  attempts  to  guess  a  lost  secret  are  untrust- 
worthy, and  most  are  absurd  in  measure  as  they  are  sentimental, 
since  sentimentality  was  one  thing  happily  unknown  in  medieval 
times.  In  general  it  is  safe  to  accept  only  such  symbolic  inter- 
pretations of  medieval  iconography  as  are  based  upon  ancient 
texts. 

The  composition  of  the  cathedral  imagery  was  founded 
upon  two  strange  vagaries  of  medieval  allegory.  The  first  of 
these  was  the  secret  power  of  numbers,  —  a  power  never  doubted 
in  the  Middle  Ages.  "Divine  wisdom,"  says  St.  Augustine, 
"is  recognized  in  the  numbers  imprinted  on  everything."  The 
physical  and  moral  world  were  thought  to  be  constructed  on 
eternal  numbers,  so  that  who  could  grasp  and  understand  the 
mystic  meaning  of  these  would  hold  in  his  hand  the  key  of  the 
Universe.  We  of  the  XX  century  admit  that  the  charm  of  music 
or  of  the  dance  lies  in  rhythm,  that  is  to  say  in  a  number;  but 
the  medieval  thinkers  went  farther.  For  them  beauty  itself  was 
only  a  cadence,  a  harmonious  numeral.  Furthermore,  special 
properties  were  associated  with  certain  numbers.  Every  one 
is  familiar  with  the  mystic  meaning  so  poetically  attached  by 
Dante  to  the  number  three  and  its  multiple  nine,  and  recalls  the 

124 


z 

o 


I 


SYMMETRY 

strangely  beautiful  effect  with  which  this  symbolism  is  used  in 
the  Vita  Nuova  and  the  Divina  Commedia.  Two  other  nu- 
merals were  equally  significant  to  the  medieval  mind :  four ;  and 
the  multiple  of  four  and  three,  twelve. 

Together  with  this  belief  in  the  symbolism  of  numbers,  and 
in  effect  largely  in  consequence  of  it,  developed  a  love  of  sym- 
metry. No  idea  did  the  Middle  Ages  adopt  more  passionately. 
The  artists  loved  to  place  side  by  side  the  twelve  patriarchs  or 
the  twelve  minor  prophets  of  the  Old  Testament,  and  the  twelve 
apostles  of  the  New ;  the  four  major  prophets  and  the  four  evan- 
gelists. At  Chartres  a  window  of  the  south  transept  shows  the 
four  prophets  Isaiah,  Ezekiel,  Daniel,  and  Jeremiah,  like  so 
many  St.  Christophers,  carrying  on  their  shoulders  the  four  evan- 
gelists, Matthew,  John,  Mark,  and  Luke.  This  is  obviously  not 
a  scene  of  actual  biblical  history;  the  ai'tist  wished  to  indicate 
that  the  four  evangelists  found  in  the  four  prophets  their  point 
of  support,  but  that  they  saw  higher  and  farther. 

This  love  of  numbers  and  symmetry  permeated  the  Middle 
Ages.  Dante  is  full  of  it.  The  Divina  Commedia  includes  a 
hundred  cantos,  all  told,  of  which  one  forms  the  proeviio  or 
introduction.  There  are  three  main  divisions,  the  Inferno,  the 
Purgatorio,  the  Paradiso.  Each  division  contains  thirty-three 
cantos.  There  are  nine  circles  in  Hell,  seven  girone  in  Purga- 
tory, and  nine  divisions  of  Paradise,  etc.  In  general  who  has 
well  understood  the  inner  meaning  and  symbolism  of  Dante 
will  not  find  himself  in  unknown  territory  in  the  iconography 
of  the  cathedral,  for  the  Italian  poet  has  given  expression  to 
much  the  same  thoughts  that  were  plastically  presented  by  the 
sculptors  and  glass-painters  of  France. 

The  second  basic  principle  of  the  symbolism  of  the  cathedral 
was  the  custom  which  is  frequently  illustrated  in  the  literature 
of  the  period,  of  regarding  the  Bible  itself  as  an  allegory. ,  Each 
incident,  each  character  in  the  scriptures  was  considered  not  only 
as  true  in  itself  but  as  containing  a  mystery;  as  being  the  hidden 
symbol  of  some  other  character  or  incident.  Thus  on  the  fa9ade 
of  the  cathedral  such  or  such  a  person  of  the  Old  Testament 
must  be  regarded  only  as  a  figure ;  in  reality  he  stands  for  Christ, 
the  Virgin,  or  the   Church.     At  Chartres,   Melchisedek,  priest 

125 


THE   TRANSITION 

and  king,  carrying  bread  and  wine  to  ofi'er  to  Abraham,  should 
recall  to  us  another  priest  and  another  king  who  offered  bread 
and  wine  to  His  apostles.  At  Laon,  Gideon  calling  on  his 
fleece  extended  on  the  earth  the  rain  of  Heaven,  is  intended  to 
remind  us  that  the  Virgin  was  that  fleece  on  which  fell  the  dew 
from  on  high.' 

The  patriarch  Joseph  prefigures  Christ  not  in  an  isolated 


III.  410.  —  Capital  of  .\rcading  of  Lady  Chapel,  Noyon 

incident,  but  in  his  entire  life.  A  window  of  Bourges  repre- 
sents this  history.  The  first  medallion,  apparently  portraying 
the  dream  of  Joseph,  really  alludes  to  the  reign  of  Christ.  Joseph 
dreams  that  the  sun  and  moon  worship  him,  because  it  has  been 
said  of  Christ,  "The  moon  and  the  sun  shall  worship  thee,  and 
all  the  stars."  His  brothers  become  angry  with  him  when  he 
tells  his  dream,  as  the  Jews,  among  whom  Jesus  was  born  and 
whom  he  called  his  brethren,  became  angry  at  the  Saviour. 
Joseph,  who  is  seen  in  the  following  medallions  stripped  of  his 
cloak,  thrown  in  the  pit,  and  sold  to  the  merchants  of  Ishmael 

1  Male,  op.  cU.,  p.  29. 
126 


BIBLICx^L   ALLEGORIES 

for  twenty  pieces  of  silver,  symbolizes  Jesus  in  the  betrayal, 
the  passion,  and  the  crucifixion.  The  cloak  which  is  torn  from 
Him  is  the  humanity  with  which  the  Saviour  was  clothed  and 
which  was  stripped  from  Him  when  He  was  killed  upon  the 
cross.  The  pit  where  Joseph  was  thrown  figures  Hell,  where 
Jesus  descended  after  His  death.  The  twenty  pieces  of  silver 
for  which  Joseph  was  sold  recall  the  twenty  pieces  given  Judas. 
The  story  of  Joseph  and  Potiphar's  wife  which  follows  is  a  new 
allusion  to  the  passion.  The  wife  of  Potiphar  is  the  Synagogue, 
accustomed  to  commit  adultery  with  strange  gods.      She  seeks 


III.  211.  —  Capital  in  Nave,  Noyon 

to  seduce  Jesus,  who  rejects  her  doctrine  but  leaves  in  her  hands 
His  cloak,  that  is.  His  body,  of  which  He  was  despoiled  upon 
the  cross.  The  triumph  of  Joseph  figures  the  victory  of  Jesus 
over  death  and  His  eternal  kingdom. 

This  same  allegorical  interpretation  extends  to  the  New 
Testament.  The  artists  in  portraying  the  crucifixion  did  not 
undertake  to  wring  our  hearts  by  a  vivid  portrayal  of  the 
sufferings  of  Christ,  as  became  conventional  in  later,  more  senti- 
mental ages;  they  were  primarily  interested  in  portraying  two 
dogmatic  ideas ;  the  first,  that  Christ  is  the  new  Adam  come  into 
the  world  to  efface  the  fault  of  the  first;  the  second,  that  by  the 

127 


THE   TRANSITION 

crucifixion  He  gave  birth  to  the  Church  and  aboHshed  forever 
the  powers  of  the  Synagogue.  As  Eve  was  fashioned  from  the 
side  of  Adam  while  he  slept,  so  the  Church,  to  save  humanity, 
issued  from  the  side  of  Jesus  dead.     The  blood  and  the  water 


III.  212.  —  Capital  of  Triforium  String  Course,  North  Transept  of  Soissons 


which  flowed  from  the  wound  of  Christ  are  the  symbols  of  the 
two  principal  sacraments  of  the  church,  baptism  and  the  Eucha- 
rist. Mary  was  the  familiar  figure  of  the  new  Eve,  and  hence 
also  of  the  Church.  She  was  therefore  placed  in  the  position 
of  honor  at  the  right  of  the  cross,  and  held  a  chalice  in  which 

That  she  might 
128 


she  caught  the  blood  from  the  Saviour's  side 


THE   BESTIARIES 

conveniently  do  this,  the  wound  had  to  be  transferred  —  in 
direct  contradiction  to  the  scriptural  account  —  from  the  left 
to  the  right  side.^  On  the  left  stands  the  figure  of  the  Syna- 
gogue, with  eyes  blindfolded,  the  crown  falling  from  her  head,  a 
broken  standard  in  her  hand.  Or  sometimes  the  Synagogue  is 
replaced  by  John,  a  much  more  subtle  symbol  of  the  same  idea. 
It  will  be  remembered  that  when  John  and  Peter  (the  Church) 
came  to  the  tomb  of  Christ,  John  feared  to  enter  in.  There- 
fore, for  the  Middle  Ages,  he  became  the  symbol  of  the  Syna- 
gogue. Sometimes  in  the  representations  of  the  crucifixion 
Mary  is  replaced  by  the  centurion  and  the  Synagogue  by  the 
sponge-bearer.  The  meaning  is  the  same.  The  centurion, 
who  after  having  pierced  the  side  of  Christ  was  converted  and 
proclaimed  his  belief,  is  the  New  Church.  The  vinegar  of 
the  sponge-bearer  is  the  wine  of  the  ancient  law  which  has  be- 
come decomposed;  henceforth  the  Church  shall  pour  the  true 
wine. 

This  same  principle  of  the  allegorical  interpretation  of  the 
Bible  applies  to  the  composition  of  many  windows,  where,  for 
example,  each  one  of  a  series  of  medallions  dealing  with  the 
history  of  New  Testament  scenes  will  be  surrounded  by  smaller 
medallions  with  scenes  from  the  Old  Testament  prefiguring 
the  main  incident.  Thus  the  story  of  the  passion  is  regularly 
accompanied  by  medallions  representing  Abraham,  the  father, 
sacrificing  Isaac,  his  only  beloved  son;  the  resurrection  natu- 
rally suggested  the  story  of  Jonah  who  returned  to  life  after 
three  days  of  death  in  the  fish's  belly. 

But  the  Gospels  were  thought  to  be  prefigured  not  only  by 
the  Old  Testament.  The  bestiaries  supplied  the  medieval 
mystics  with  many  allegories.  The  lion,  for  example,  always 
stands  for  the  resurrection,  since  according  to  the  bestiaries 
the  lioness  gives  birth  to  cubs,  seemingly  still  born,  that  for 
three  days  betray  no  sign  of  life,  until  on  the  third  day  the  lion 
comes,  breathes  upon  them,  and  thus  brings  them  to  life.  So 
the  apparent  death  of  the  lion  cub  figures  the  descent  of  Christ 
into  the  tomb,  since  he  also  came  to  life  on  the  third  day.     The 

'  It  is  unnecessary  to  recall  that  there  is  no  basis  for  this  entire  incident  in  the  story  of  the 
Gospels. 

129 


THE   TRANSITION 

pelican  typified  the  resurrection  because  it  was  believed  to  have 
brought  its  young  to  life  by  blood  drawn  from  its  own  breast; 
and  the  eagle  stood  for  the  Redemption  inasmuch  as  it  carried 
its  young  (humanity)  upon  its  broad  wings  (the  cross).  The 
unicorn  (Christ)  submitted  to  the  hunters  (man)  only  upon  the 
breast  of  a  virgin  (Mary).  The  basilisk  (111.  266),  with  the  head 
of  a  cock  and  the  tail  of  a  snake,  typified  death;  the  aspic  (111. 
266),  a  strange  creature  with  the  body  of  a  dragon,  signified  sin, 
and  is  always  represented  as  stopping  one  ear  and  placing  the 
other  on  the  ground.  Thus  many  symbolical  interpretations 
of  various  animals  and  monsters  were  drawn  from  these  strange 
natural  histories,  which,  of  course,  were  universally  believed  in 
the  XIII  century.  Other  allegorical  figures,  derived  from  a 
misunderstanding  of  the  Apocalypse,  were  the  man  (not  angel) 
of  St.  Matthew,  the  eagle  of  St.  John,  the  lion  of  St.  Mark,  and 
the  calf  of  St.  Luke  (111.  215). 

In  medieval  glass  and  statuary  the  symbolism  is  often  ex- 
tended with  the  most  astounding  thouehtfulness  to  the  smallest 
detail.  Under  the  bases  which  support  large  statues,  for  ex- 
ample, may  almost  always  be  seen  crouched  figures  (111.  215, 
265,  268).  These  would  seem,  superficially,  to  be  works  of 
pure  decoration ;  in  reality  each  of  the  personages  so  represented 
is  in  relation  to  the  principal  figure.  The  apostles  trample 
under  their  feet  the  kings  who  have  persecuted  them.  Moses 
treads  on  the  golden  calf;  the  angels  on  the  dragon;  Jesus  on 
the  aspic  (sin)  and  the  basilisk  (death).  Sometimes  the  em- 
blem of  the  base  expresses  not  the  idea  of  triumph,  but  some 
trait  of  the  life  or  character  of  the  person  represented.  At 
Chartres  beneath  the  feet  of  Balaam  is  his  ass;  a  negro  charged 
with  gifts  of  Ophir  is  placed  beneath  the  Queen  of  Sheba.  The 
relationship  between  base  and  statue  is  so  close  that  in  the 
cathedral  of  Paris  it  has  been  possible  to  restore  with  practical 
certainty  the  lost  statues  of  the  portal  from  the  bases  which 
supported  them.' 

Thus  the  subjects  depicted  in  the  imagery  of  the  cathedral, 
even  to  the  smallest  details,  had  almost  always  a  double  sig- 
nificance.    Principles  very  similar  governed  the  design  of  the 

>  Male,  Art.  Rel,  p.  22. 
130 


III.  213.  —  St.  Etienne  or  Beauvais.    North  Transept  End 


THE   FOUR   MIRRORS 

larger  aspects  of  the  composition  —  the  representations  of  the 
four  mirrors.  The  mirror  of  nature,  in  Vincent  of  Beauvais, 
consists  of  a  commentary  on  the  seven  days  of  creation,  when 
God  made  Heaven  and  Earth  and  all  the  creatures  therein.  To 
this  mirror,  therefore,  belong  not  only  all  the  numerous  scenes 
of  the  creation  itself  which  are  so  frequently  portrayed  in  the 
windows  and  statuary  of  the  cathedral,  but  also  all  the  vegetable 
ornament,  the  animals  and  monsters  and  grotesques  with  which 
the  cathedral  was  adorned  from  base  to  summit. 

The  mirror  of  science  included  the  handicrafts  and  practical 
knowledge  of  man.  Thus  all  the  useful  arts  and  trades  found 
their  representation  in  the  cathedral  imagery.  At  Chartres 
and  Bourges,  at  the  bottom  of  the  windows  given  by  the  various 
corporations,  the  donors  are  portrayed  plying  the  spade,  the 
hammer,  the  loom,  the  baker's  rolling  pin,  the  butcher's  knife. 
There  was  felt  no  incongruity  in  placing  these  pictures  of  daily 
life  side  by  side  with  the  heroic  scenes  from  the  lives  of  saints. 
Beneath  the  signs  of  the  zodiac  on  the  f  a9ade  of  Amiens  appeared 
genre  scenes  depicting  the  forms  of  agricultural  life  appropriate 
to  each  season  —  the  sowing  of  the  grain,  the  harvest,  the  vint- 
age, etc.  (111.  265).  Under  this  mirror  were  also  included  alle- 
gorical representations  of  the  seven  arts,  which  according  to 
the  medieval  idea  comprised  the  possibilities  of  human  intellec- 
tual activity,  outside  of  the  Revelation;  these  arts  were:  Gram- 
mar, Rhetoric,  Dialectics,  Arithmetic,  Geometry,  Astronomy, 
and  Music.  Over  the  seven  arts  arose  Philosophy,  their  mother. 
The  artists  of  the  XIII  century  almost  never  failed  to  sculpture 
on  the  fa9ade  of  the  cathedral  these  eight  figures  which  are 
presented  usually  in  the  form  of  young  women,  full  of  dignity. 
Grammar  holds  the  rod  as  her  attribute;  at  her  feet  are  often 
gathered  children  deep  in  reading.  The  attribute  of  Dialectics 
is  a  serpent  or  scorpion;  Rhetoric  makes  a  gesture  of  oratory, 
and  writes  in  her  tablets;  Arithmetic  is  usually  made  known 
by  her  counting-board;  Geometry  has  a  compass  and  a  table 
on  which  she  traces  figures;  Astronomy  carries  a  curious  disc- 
like instrument  with  which  to  measure  the  distances  of  the 
stars;  Music  is  seated,  and  strikes  three  or  four  suspended 
bells.     Philosophy  sits  with  her  head  in  the  clouds  —  her  em- 

131 


THE   TRANSITION 

blems  are  books  in  her  right  hand,  a  scepter  in  her  left,  and 
sometimes  a  ladder. 

The  mirror  of  morals  concerned  itself  above  all  with  the 
depiction  of  the  virtues  and  vices.  The  virtues  in  the  earliest 
times  were  represented  as  warrior  maidens,  fighting  in  battle 
against  the  opposite  vice.  But  in  the  XIII  century  the  psy- 
ch omachia  gave  place  to  a  new  mode  of  presentation.  The 
virtues,  sculptured  in  low  relief,  are  women,  calm,  composed, 
majestic;  they  carry  shields  with  heraldic  devices,  witnessing 
their  nobility.  As  for  the  vices,  they  are  no  longer  personified, 
but  represented  by  genre  scenes  placed  below  each  virtue.  A 
husband  beating  his  wife  is  Discord;  Inconstancy  is  a  monk 
who  flies  from  his  monastery  throwing  ofi^  his  cloak.  The 
selection  of  the  particular  virtues  and  vices  to  be  represented 
seems  to  have  been  governed  by  principles  not  altogether  clear. 
The  three  theological  virtues  were  Faith,  Hope,  and  Charity; 
the  opposite  vices.  Idolatry,  Despair,  and  Avarice.  The  car- 
dinal virtues  were  Temperance,  Force,  Prudence,  and  Justice. 
But  this  classification  the  sculptors-  seem  to  have  treated  freely, 
often  omitting  certain  virtues  or  vices  and  adding  others. 

The  mirror  of  history,  the  most  important  of  all  the  mirrors, 
included  subjects  drawn  from  the  Old  and  New  Testaments, 
the  apocrypha,  and  the  lives  of  the  saints,  thus  comprising,  from 
the  creation  of  the  world,  all  events  that  seemed  of  importance 
to  the  medieval  mind — i.e.,  those  which  were  related  to  reli- 
gion. It  was  mainly  in  this  mirror  that  mystic  and  symbolic 
compositions  found  their  place.  Profane  history  did  not  enter, 
and  the  galleries  of  the  kings,  as  are  called  the  long  line  of  royal 
statues  that  ordinarily  stretched  across  the  cathedral  fa9ade, 
represented  not  kings  of  France,  as  has  been  erroneously  main- 
tained by  Viollet-le-Duc  and  others,  but  kings  of  Judah.  These 
royal  statues  thus  formed,  in  fact,  a  sort  of  Jesse  tree,  repre- 
senting the  genealogy  of  the  Virgin.  Especially  in  windows 
were  represented  the  legends  of  the  saints ;  and  the  saint  selected 
was  often  the  patron  saint  of  the  corporation  that  gave  the 
window. 

Thus  it  will  be  seen  that  the  task  imposed  upon  the  Gothic 
designers  of  stained  glass  and  statuary  was  a  highly  complex 

132 


III.  214.  —  Stained  Glass  Window  of  Bourges. 
Martin  et  Cahier) 


(From 


CONVENTIONAL   ATTRIBUTES 

one.  Not  only  must  they  produce  works  beautiful  in  themselves, 
not  only  must  they  strictly  subordinate  them  to  the  architectural 
scheme,  but  they  must  also  make  allusions  to  the  dogmas  of 
scholastic  philosophy,  and  they  must  combine  all  these  countless 
divergent  subjects  representing  the  sum  of  all  knowledge  into 
a  single  and  unified  whole.  To  accomplish  this  difficult  task, 
resort  was  had  to  the  use  of  attributes,  more  or  less  conventional, 
to  distinguish  different  persons  and  subjects.  The  imagery 
thus  possessed  a  sort  of  hieroglyphic  character  for  those  able 
to  read  it.  Many  of  the  attributes,  it  is  true,  were  merely  sur- 
vivals of  the  tradition  of  a  cruder  age.  For  the  Romanesque 
sculptor,  who  was  unable  to  raise  the  dignity  of  his  figure  of 
Christ  above  the  level  of  the  grotesque  figures  of  men,  a  peculiar 
nimbus  was  necessary  to  distinguish  the  figure  of  the  Deity. 
The  Gothic  sculptors,  on  the  other  hand,  were  well  able  to  in- 
vest their  representations  of  the  'beau  Dieu'  with  a  matchless 
dignity  and  gentleness  that  must  be  immediately  recognized  by 
the  most  dull  (111.  266).  Yet  they  still  retained  at  times  the 
conventional  attribute  (111.  267). 

The  list  of  these  symbols  is  a  long  one,  and  it  is  possible  to 
mention  only  a  few  of  the  more  important  to  illustrate  their 
general  character.  The  halo  placed  like  a  circular  disc  behind 
the  head  of  a  figure  expresses  sanctity  (111.  215) ;  when  this  halo 
is  inscribed  with  a  Greek  cross  it  signifies  the  divinity  (111.  215, 
266).  The  elliptical  aureole,  which  may  be  seen  in  the  illustra- 
tion of  the  portal  of  Chartres  (111.  215)  surrounding  the  entire 
figure  of  Christ  in  the  tympanum,  is  used  only  in  connection 
with  the  three  persons  of  the  Trinity,  the  Virgin,  and  the  souls 
of  the  blessed,  and  seems  to  express  eternal  happiness.  God, 
the  angels,  Christ  (111.  266,  215),  and  the  apostles  always  have 
bare  feet;  never  the  Virgin  or  the  saints  (111.  265,  268).  A 
tower  pierced  with  a  door  signifies  a  city,  but  if  an  angel  watch 
between  the  battlements  it  becomes  the  heavenly  Jerusalem. 
St.  Peter  always  has  curly  hair,  a  short  thick  beard,  and  on  top 
of  his  head  a  bald  spot;  St.  Paul  has  a  bald  forehead  and  a 
long  beard.  The  Virgin  wears  upon  her  head  a  veil,  the  symbol 
of  virginity.  Jews  may  always  be  recognized  by  their  conical 
bonnets. 

133 


THE   TRANSITION 

A  similar  hieroglyphic  purpose,  mingled  with  the  medieval 
love  of  order,  governed  the^  position  of  individual  persons  in 
the  group  and  the  arrangement  of  the  groups  themselves.  The 
center  of  the  composition  was  always  the  place  of  honor,  right 
had  preference  over  left,  and  higher  over  lower.  Thus  every 
personage,  every  scene,  was  graded  according  to  strict  hierarchal 
rank,  and  the  position  in  the  composition  was  accordingly  de- 
termined. This  grouping  dominated  over  the  division  accord- 
ing to  the  four  mirrors  of  nature:  that  is,  subjects  belonging  to 
different  mirrors  were  mingled  and  placed  beside  each  other  if  the 
rule  of  hierarchal  precedence  demanded  it.  This  law,  therefore, 
even  more  than  the  symbolism,  served  to  bind  the  imagery  of 
the  cathedral  into  a  centralized  and  unified  whole.  Although 
the  composition  was  freely  varied  in  every  individual  cathedral, 
in  the  XIII  century  certain  general  principles  of  grouping  came 
to  be  established,  largely  in  consequence  of  this  rule  of  hie- 
rarchal precedence.  In  the  central  support  of  the  central  door- 
way of  the  west  fa9ade  —  the  place  of  highest  honor  since  it 
was  the  center  of  the  entire  composition  —  was  regularly  placed 
the  figure  of  Christ.  To  the  right  and  left  in  the  jambs  stood  the 
twelve  apostles  placed  according  to  their  rank,  and  behind  them 
in  due  order  the  majestic  figures  of  the  four  major,  and  the  twelve 
minor,  prophets.  In  the  two  side  portals  flanking  the  great 
central  portal  were  placed  usually  the  Virgin  and  the  local 
patron  saint  of  the  diocese.  Thus  at  Amiens,  St.  Firmin  occu- 
pies the  position  of  honor  in  the  center  of  the  portal  to  the  right 
of  the  Saviour;  the  jambs  of  this  portal  are  adorned  with  statues 
of  the  other  saints  of  whom  the  cathedral  possessed  relics.  In 
the  portal  to  the  left  of  the  Saviour  was  placed  the  Virgin,  who 
although  the  titulary  saint  of  the  church  thus  yielded  to  St. 
Firmin  in  honor ;  on  the  jambs  of  this  south  portal  were  depicted 
scenes  from  her  life.  Above  the  three  portals,  across  the  fa9ade, 
stretched  the  gallery  of  the  kings  of  Judah,  recalling  the  gene- 
alogy of  the  Virgin  and  Christ.  The  fa9ade  of  the  transept 
which  faced  the  north,  the  region  of  cold  and  of  winter  and  of 
night,  was  usually  devoted  to  scenes  from  the  Old  Testament; 
the  fa9ade  which  faced  the  south,  the  region  of  light  and  warmth, 
was  adorned  with  subjects  drawn  from  the  Gospels.     In  the  tym- 

134 


^! 


i^^ 
1^^ 


III.  '213. -West  r<"-'"''^fC|,arln 


THE   LAST   JUDGMENT 

panum  of  the  central  portal  of  the  west  fa9ade,  over  the  cen- 
tral figure  of  Christ,  was  almost  invariably  displayed  the 
solemn  drama  of  the  Last  Judgment,  so  placed  that  the 
last  rays  of  the  setting  sun  might  illumine  this  terrible 
scene  of  the  last  evening  of  the  world  —  a  scene  which  it 
was  the  great  mission  of  Christ  to  teach,  and  prepare  the  world 
to  endure. 

Gothic  sculpture  in  relief  is  at  its  best  in  the  portrayal  of 
this  subject,  which  so  strangely  preoccupied  the  thoughts  of 
the  Middle  Ages.  In  the  center  of  the  upper  of  the  three  zones 
into  which  this  composition  was  generally  divided  (111.  267)  was 
placed  the  figure  of  Christ,  sitting  upon  His  throne,  and  sur- 
rounded by  the  archangels;  on  either  side  the  Virgin  and  the 
saints  kneel  in  supplication,  while  Gabriel  sounds  the  last  dread 
trumpet.  In  the  second  zone,  the  archangel  Raphael  balances 
in  his  hand  the  scales  of  justice.  In  either  disc  rests  a  soul; 
notwithstanding  the  efforts  of  the  malignant  devil  who  tries 
to  pull  down  the  balance  on  the  wrong  side,  the  weight  inclines 
towards  salvation,  and  the  gentle  archangel  places  his  hand 
upon  the  head  of  the  spirit  awaiting  judgment  with  infinite 
kindliness  and  love.  To  the  left  of  Raphael  stand  hideous 
devils  ready  to  seize  the  condemned ;  they  bind  them  with  chains, 
poke  them  with  pitchforks,  hurl  them  headforemost  into  the 
gaping  jaws  of  Hell.  Kings,  bishops,  priests,  monks,  form  ordi- 
narily a  goodly  portion  of  this  company  of  the  damned.  On 
the  other  side  in  calm  procession  the  blessed  walk  serenely 
towards  the  joys  of  Paradise,  or  angels  bear  the  naked  souls  in 
napkins  straight  to  Abraham's  bosom.  In  the  lower  field  is 
represented  the  resurrection  of  the  dead.  The  departed,  naked, 
reincarnated  in  the  perfect  flower  of  youth,  men  and  women, 
saints  and  sinners,  burst  open  the  lids  of  their  coflBns,  and  arise 
to  await  judgment.  Meanwhile  all  around  this  solemn  scene 
on  the  voussoirs  of  the  orders,  are  sculptured  the  hosts  in  glory: 
crowds  of  angels,  martyrs,  confessors,  witnesses  of  the  awful 
scene.     (111.  267.) 

I  should  hardly  know  how  to  put  in  words  the  stern  grandeur 
and  tragic  power  of  these  terrible  representations  of  the  Last 
Judgment.     Fortunately,  the  XIII  century  itself  has  expressed 

135 


THE   TRANSITION 

not  only  in  stone,  but  in  poetry,  this  terrible  conception,  which 
so  fascinated  the  medievarmind : 

Dies  irae,  dies  ilia 
Solvet  sacclum  in  favilla, 
Teste  David  cum  Sibylla. 

Quantus  tremor  est  futurus, 
Quando  judex  est  ventunis 
Cunda  stride  discussurus. 

Tuba  mirum  spargens  sonum 
Per  septilchra  regionum 
Coget  omnes  ante  thronum. 

Mors  stupebit  et  natura. 
Cum  resurget  creaiura 
Judicanti  respon-sura. 

Liber  scriptus  proferdur. 
In  quo  totum  conlindiir, 
XJnde  mundus  judicdur. 

Judex  ergo  cum  sedebit, 
Quidquid  laiet  apparebit. 
Nil  imdtum  remanebit. 

Quid  sum  miser  tunc  diduriis? 
Quern  patronum  rogaiurus, 
Quum  vix  J2istus  sit  securus? 

Rex  tremendae  majestalis. 
Qui  salvandos  salvas  gratis, 
Salva  me  fons  pietatis! 

Recordare,  Jesu  pie, 
Qitod  sum  causa  tuae  viae, 
Ne  me  perdus  ilia  die! 

Quaerens  me  sedisti  lassus; 
Redemisii,  crucem  passus; 
Tantus  labor  non  sit  cassus! 

JuMae  judex  uUionis, 
Donum  fac  remissionis. 
Ante  diem  rationis! 
136 


THE   "DIES   IRAE 

Ingemisco  tanquam  reus. 
Culpa  rubet  vultus  meus, 
Supplicanti  parce  deus! 

Qui  Mariam  ahsolvisti, 
Et  latronem  exaudisti, 
Mihi  quoque  spem  dedisti. 

Preces  meae  non  sunt  dignae, 
Sed  tu  bomts  fac  henigne, 
Ne  perenni  cremer  igne! 

Inter  oves  locum  praesta, 
Et  ah  hoedis  me  sequestra, 
Statuens  in  parte  dextra! 

Confuiatis  malediclis, 
Flamnis  arcihus  addietis, 
Voca  Tne  cum  benedictis! 

Oro  supplex  et  acclinis. 
Cor  contritum  quasi  einis, 
Gere  curani  mei  finis! 

Lacrymosa  dies  ilia. 
Qua  resurget  ex  favilla, 
Judicandus  homo  reus. 

Huic  ergo  parce  deus. 
Pie  Jesu  Domine, 
Dona  eis  requiem. 

The  "Dies  Irae,"  kitchen  Latin  though  it  be,  one  of  the 
master  lyrics  of  all  time,  is,  as  it  were,  the  literary  translation, 
not  of  the  details  of  iconography,  but  of  the  spirit  of  the  Gothic 
reliefs  of  the  Last  Judgment.  Surely  there  could  be  no  more 
fitting  place  for  this  impressive  subject  than  the  tympanum  of 
the  main  portal  of  the  cathedral,  where  the  pictured  narrative 
warned  each  sinner  who  entered  the  house  of  God,  to  repent 
while  there  was  yet  time. 

Thus  throughout  the  Gothic  cathedral,  from  pavement  to 
spire,  every  detail  of  imagery  occupied  its  definite  and  logical 
position  in  the  powerful  unity  that  dominated  the  whole.     It  is 

137 


THE    TRAXSITIOX 

never  by  chance  that  one  subject,  instead  of  another,  is  treated 
in  a  given  window;  no  two  statues  of  the  fa9ade  could  be 
transposed  without  injury  to  the  entire  scheme  of  iconography. 
Gothic  sculpture  and  glass  are  arts  supremely  beautiful  in  them- 
selves; but  it  is  only  when  it  is  considered  how  much  else  these 
arts  are,  besides  being  merely  beautiful,  that  the  full  genius  of 
the  Gothic  artist  is  comprehended.  At  the  same  time  that  he 
created  images  architectural  as  no  other  plastic  art  has  ever 
been  architectural,  at  the  same  time  that  he  so  successfully 
filled  fields  more  difficult  than  any  other  sculptors  have  ever 
been  required  to  decorate,  at  the  same  time  that  he  imbued 
his  figures  with  the  breath  of  life,  and  with  a  consummate  beauty, 
the  Gothic  designer  was  also  able  to  conceive  a  vast  unity  of 
composition  that  must  rank  as  one  of  the  most  impressive  achieve- 
ments of  any  art,  and  to  imprint  upon  the  whole  a  depth  of  inner 
poetic  meaning  and  symbolism,  which  sums  up  the  best  in 
scholastic  philosophy. 

All  this  was  certainly  a  sufficient  attainment  for  any  art  or 
artists,  but  modern  writers  in  their  admiration  for  Gothic  de- 
sign have  gone  even  farther,  and  have  insisted  on  reading  sym- 
bolism where  it  almost  certainly  does  not  exist — i.e.,  in  the 
structural  forms  of  the  building.  The  three  aisles,  the  thi-ee 
divisions  in  which  Gothic  windows  were  usually  divided  by 
mullions,  are  considered  by  authors  of  this  class  as  so  many 
s^^nbols  of  the  Trinity;  the  cruciform  plan  was  long  unques- 
tioningly  accepted  as  an  allegory,  and  even  the  deviation  of  axis 
that  sometimes  occurs  in  the  choirs  of  churches  has  been  seri- 
ously thought  to  have  been  a  reminiscence  of  the  head  of  the 
Saviour  which  fell  to  one  side  when  he  died  upon  the  cross. 

In  point  of  fact,  however,  although  medieval  mysticism 
was  extremely  apt  at  inventing  allegorical  interpretations  of 
structural  forms  already  existing,  there  is  not  a  single  instance 
known  where  this  spirit  governed  the  design  of  anything  but 
the  decoration,  or  where  the  development  of  architecture  proper 
was  subordinated  to  other  considerations  than  the  logic  of 
structure.  In  the  Carolingian  period,  the  mystics  delighted 
above  all  in  the  allegorical  interpretation  of  the  dome  which  was 
taken  to  symbolize  Heaven,  crowned  and  sealed  by  one  keystone, 

138 


de\t:\ted  axis 

Christ.  But  this  allegory,  popular  as  it  -^-as,  did  not  prevent 
the  dome  from  being  discarded  in  the  Gothic  period.  Hence, 
even  if  texts  could  be  cited  in  favor  of  the  allegorical  inter- 
pretation of  Gothic  structure  —  which  has  not  been  done  —  I 
should  be  inclined  to  hold  such  interpretations  rather  as  the 
chance  imaginings  of  some  mystic,  invented  apres  coup,  than  as 
ha"ving  influenced  the  choice  of  forms  adopted.  The  cruci- 
form plan,  developed  purely  out  of  liturgical  needs,  only  at  a 
very  late  date  and  quite  by  accident  came  to  assimae  the  form 
of  a  Latin  cross.  As  for  the  theory  of  the  "inclinato  capite" 
its  sentimentality  is  so  thoroughly  out  of  keeping  with  the 
eminently  unsentimental  XIII  century,  that  it  is  difficult  to 
understand  what  has  induced  so  manv  eminent  archaeologists 
to  accept  it. 

M.  A.  St.  Paul  (who  has  since,  however,  with  admirable 
frankness  acknowledged  himself  in  the  wrong^i  was  the  principal 
champion  who  kept  this  strange  theory  in  vogue  until  the  last  year 
or  so,  although  even  such  scholars  as  YioUet-le-Duc  and  M.  Male 
had  hesitated  to  pronounce  against  it.  M.  de  Lasteyrie,  how- 
ever, in  a  recent  forceful  article,  has  pointed  out  that  no  ancient 
text  supports  the  allegorical  interpretation  of  the  deviated  axis. 
which  cannot  be  traced  to  a  period  more  remote  than  the  XIX 
century;  that  deviation  frequently  occurs  in  churches  without 
transept,  where  it  could  not  possibly  have  been  symboHcal ;  "^ 
that  in  the  XIII  century  the  crucifixion  was  rarely  if  ever  repre- 
sented with  the  Saviour's  head  drooping,  that  detail  having  been 
added  by  a  later  age,  while  the  XIII  century  was  much  more 
concerned  with  dogma  than  sentimentaUty  in  portraying  the 
scenes  of  the  passion:  and  finally,  that  since  the  deviation  was 
quite  as  often  to  the  south  as  to  the  north,  it  could  not  refer 
to  the  Saviour's  head,  which  always  was  represented  as  falling 
to  the  right. 

This  article,  as  ^I.  St.  Paul  himself  confesses,  settles  the 
question  of  svmbolism.  But  it  remains  to  account  for  the 
deviation  of   axis,  which  unquestionably  exists  in  a  large  per- 

'  An  excellent  instance  of  thi"^  which  M.  de  Lastevrie  does  not  mentioa  is  found  at  St.-Nich- 
olas-du-Port  (Meurthe-et-Moselle)  where  one  of  the  most  exaggerated  examples  of  deviation  I 
know  occurs  in  a  chmti  without  transepts. 

139 


THE   TRANSITION 

centage,  if  not  in  a  majority,  of  medieval  churches.'  M.  de 
Lasteyrie  notes  that  this  deviation  usually  coincides  with  a 
break  in  the  works;  he  concludes  in  consequence  that  the  work- 
men in  continuing  the  old  construction  were  careless  in  laying 
out  the  new  lines,  and  allowed  them  to  vary  slightly  from  the 
direction  of  the  old  lines  they  continued.  M.  St.  Paul  suggests 
that  in  rebuilding  an  older  church,  the  larger  choir  was  con- 
structed with  improved  orientation,  without  foreseeing  the 
extra  land  it  would  require  in  the  nave,  and  the  buildings  with 
which  it  might  interfere;  that,  however,  when  it  came  to  build- 
ing the  nave  these  objections  were  realized  and  the  axis  con- 
sequently diverted. 

Both  these  theories,  and  the  many  others  that  account  for 
the  deviation  of  the  axis  by  supposing  carelessness  on  the  part 
of  the  builders,  while  fully  adequate  to  explain  any  individual 
instance,  still  seem  insufficient  to  account  for  all  the  very 
numerous  instances  of  this  phenomenon  that  occur.  It  is  a 
well-knowTi  fact  that  in  practically  all  medieval  churches  works 
were  interrupted  at  the  choir.  It  was  the  regular  formula 
of  procedure  to  reconstruct  the  old  choir  first;  when  this  was 
finished,  works  were  suspended  until  sufficient  funds  wei*e  col- 
lected to  resume  work  on  the  transepts  and  nave.  I  suspect 
that  were  the  few  churches  in  France,  where  no  such  interrup- 
tion in  the  construction  occurs,  to  be  carefully  examined,  the 
percentage  of  deviated  axes  would  be  found  to  be  quite  as  large 
as  in  those  in  which  the  break  is  found.  Certainly  in  at  least 
two  instances  that  I  can  name  —  the  churches  at  Coudun  (Oise) 
and  of  Guilray  at  Falaise,  —  there  exists  a  marked  deviation 
in  the  axis  which  corresponds  to  no  break  in  the  construction. 
The  idea  of  M.  St.  Paul,  on  the  other  hand,  is  perfectly  plaus- 
ible for  a  cathedral  like  that  of  Paris,  which  was  placed  in  a 
great  city  where  land  was  dear  and  which  was  surrounded  by 
conventual  buildings.  But  how  extend  it  to  country  churches, 
where  the  building  stood  free  and  land  was  cheap  ?  Yet  the 
deviated    axis    is  of   frequent   occurrence    in    just    such    struc- 

1  No  statistics  have  ever  been  compiled  to  show  the  exact  facts  in  regard  to  the  deviation  of 
the  axis.  Until  such  statistics,  made  from  accm^te  measurements,  are  accessible,  no  definitive 
solution  of  the  problem  is  possible. 

140 


III.  216.-Villard  de  Honnecourt's  Design  for  the  Cathedral 


of  Cambrai.    (From  Lassus) 


DEVIATED   AXIS 

tures:  witness  the  churches  at  Solesmes  (Sarthe),  Nerondes 
(Chef),Vorly  (Cher),  Lagenay  (Cher),  Binson  (Marne),  etc.,  etc. 

Furthermore  I  confess  I  find  it  difficult  to  admit  that  the 
Gothic  builders,  with  all  their  skill  of  technique,  with  all  their 
strong  artistic  conscience,  were  still  unable,  or  did  not  take  the 
pains,  to  trace  on  the  ground  a  line  quite  as  straight  as  they 
desired.  Any  child  could  tie  a  string  at  one  end  of  a  building 
and  stretch  it  taut;  that  the  creators  of  Paris  and  Amiens  could 
not  carry  out  this  simplest  of  operations  seems  incredible. 

Consequently  the  conclusion  that  the  deviated  axis  was 
intentional  seems  inevitable;  and  I  believe  that  this  singular 
construction  was  adopted  for  the  purpose  of  increasing  the  ap- 
parent length  of  the  building.  Every  one  is  familiar  with  the 
law  of  perspective,  by  which  equal  distances  seem  to  diminish 
as  they  are  far  from  the  eye.  Now  in  a  church,  the  lines  of  the 
vertical  bays  give  the  scale  by  which  the  eye  instinctively  meas- 
ures the  length  of  the  whole.  To  a  man  standing  at  the  west 
end  of  the  edifice  and  looking  east,  the  first  of  these  divisions 
will  seem  large;  the  second  smaller;  and  so  on  until  at  a  cer- 
tain point  one  set  of  vertical  lines  will  merge  into  the  next  and 
the  division  of  bays  will  be  lost.  After  this  point  is  reached, 
a  difference  of  fifty  or  even  a  hundred  feet  in  the  length  of  the 
edifice  becomes  hardly  apparent.' 

The  point  is  aptly  illustrated  in  certain  English  cathedrals, 
notably  Salisbury.  This  structure  of  immense  length  the  medi- 
eval builders  had  wisely  divided  into  two  distinct  parts  by  the 
use  of  high  choir  screens,  each  part  being  of  sufiicient  length 
to  obtain  the  greatest  sense  of  perspective  possible.  Modern 
restorers  pulled  down  the  choir  screen,  and  hoped  by  this  means 
to  obtain  an  effect  of  added  length.  But  they  were  mistaken. 
The  building  twice  as  long  as  formerly  appeared  to  have  no 
greater  length  than  either  one  of  the  original  halves.  The 
French  medieval  builders  also  realized  that  to  increase  the 
length  of  a  church  beyond  a  certain  point  was  effort  thrown 
away;  hence,  since  they  did  not  employ  the  high  choir  screens 

'  Mr.  Goodyear  has  suggested  that  the  axis  was  deviated  for  esthetic  reasons,  though  he 
has  not,  so  far  as  I  know,  advanced  this  particular  explanation.  He  has  found,  however, 
many  analogous  cases  of  optical  illusions  in  medieval  buildings. 

141 


THE   TRANSITION 

of  the  English,  they  seldom  erected  cathedrals  of  much  over 
350  feet  in  length.  It  therefore  is  not  unreasonable  to  sifppose 
that  the  axis  was  deviated  in  order  to  overcome  this  tendency 
of  perspective  to  minimize  the  apparent  length  of  a  rectangular 
nave  by  foreshortening  the  far  bays.  The  principle  Avill  be 
clear  on  reference  to  the  diagram  (111.  216a).     In  the  left  hand 


0 

■0 

1 

I 

\ 

III.  216a.  • —  DiaOTam  of  the  Deviated  Axis 


figure,  for  a  man  standing  at  x,  the  equal  divisions  a,  h,  c,  d, 
will  be  projected  in  such  small  angles  that  the  perspective  will 
much  diminish  the  apparent  length  of  the  choir.  If,  however, 
the  axis  be  deviated,  as  in  the  second  figure,  the  angles  of  pro- 
jection will  be  increased,  and  the  choir  will  appear  at  much 
more  nearly  its  true  length.  The  deviation  of  axis  in  Gothic 
buildings  is  seldom  so  acute  as  to  be  noticeable,  except  upon  the 
closest  examination;  it  is,  however,  sufiicient  to  increase  mate- 
rially the  apparent  length  of  the  building. 

The  entire  subject  of  the  ii-regularities  of  medieval  build- 

142 


PROF.  GOOD  YEAR'S   "REFINEMENTS" 

ings  has  lately  been  brought  very  much  into  the  limelight  by 
the  researches  of  Prof.  Goodyear.  Prof.  Goodyear,  starting 
at  the  Maison  Carree  at  Nimes  and  proceeding  thence  through 
the  medieval  buildings  of  Italy  and  France,  remarked  that 
practically  all  the  structures  of  the  Middle  Ages,  instead  of  fol- 
lowing rule  and  plumb-line,  are  irregular;  that  lines  apparently 
straight  wander  up  and  down  to  a  considerable  extent,  that 
the  distances  between  the  piers  vary,  and,  most  remarkable  of 
all,  that  the  plans  are  frequently  laid  out  on  distinctly  curved 
lines.  Therefore,  on  analogy  with  the  discoveries  of  Penrose 
at  the  Parthenon,  Prof.  Goodyear  concluded  that  these  irregu- 
larities were  the  result  of  intentional  and  carefully  planned  devi- 
ations from  the  straight  line ;  that  they  represented  an  unbroken 
tradition  extending  from  Greek  times  to  the  Renaissance;  that 
they  were,  in  fact,  so  many  refinements  perfectly  analogous  to 
those  which  occur  in  Greek  work.  This  theory,  which  he  has 
sought  to  establish  by  means  of  photographs  and  minute  measure- 
ments, has  been  broadly  accepted,  especially  in  America,  though 
it  has  met  with  much  scepticism  and  some  ridicule  in  Europe. 
The  question  is  still  before  the  archaeological  courts,  and 
must  be  left  to  time  and  the  specialists  in  optics  and  perspective 
to  determine.  As  yet,  however,  although  Prof.  Goodyear  has 
certainly  succeeded  in  establishing  remarkable  facts,  I  find  great 
difiiculty  in  accepting  his  theory  as  a  whole,  and  am  strongly 
inclined  to  believe  that  there  is  nothing  carefully  planned  about 
medieval  irregularities.^  Settling  of  the  foundations  and  the 
continuous  outward  thrust  of  the  vaults  for  six  centuries  are 
amply  sufficient  to  account  for  the  greater  part  of  the  "curves" 
Prof.  Goodyear  has  discovered  in  the  superstructure.  As  for 
such  irregularities  as  did  exist  in  the  original  buildings  —  the 
irregular  spacing  of  the  bays,  lines  of  mouldings  apparently 
parallel  that  are  not  so  in  fact,  the  bases  of  dift'erent  heights, 
the  horizontal  lines  that  curve  upwards  or  downwards,  etc.  — 
these  may  easily  be  explained  without  resorting  to  the  difficult 
hypothesis  of  scientific  refinements.  In  the  study  of  this  prob- 
lem it  is  necessary  to  bear  in  mind  the  evolution  of  Gothic  archi- 

'  However,  I  confess  I  am  at  a  loss  to  account  for  several  instances  of  curvature  in  plan, 
notably  that  of  the  steps  of  S.  Marco,  Venice. 

143 


THE   TRANSITION 

lecture,  and  the  fact  that  in  Carolingian,  even  in  Romanesque, 
times,  precision  of  architectural  teclinique  had  been  unknown. 
Buildings  had  been  crudely  constructed  in  a  haphazard  man- 
ner. In  the  Gothic  period,  although  teclinique  was  vastly 
improved,  the  old  manner  of  building  was  not  completely  dis- 
carded. The  Hnes  of  a  Gothic  church  are  so  nearly  true  that 
the  irregularities  are  not  perceived  by  one  eye  in  a  thousand 
not  especially  on  the  watch  for  them;  and  in  tlie  Gothic  age 
such  vagaries  as  do  exist  must  have  been  even  less  noticeable, 
since  in  that  day  people  were  not  accustomed  to  our  modem 
macliine-made  architecture. 

In  the  most  flawless  and  lifeless  of  modem  work,  it  is  cer- 
tain that  all  lines  are  not  absolutely  true;  the  deviations  may 
be  of  a  hundred-thousandth  of  an  inch,  but  they  exist.  Thus 
the  Gothic  builders,  who  constructed  far  more  accurately  than 
their  predecessors,  may  well  have  felt  about  their  edifices  just 
as  we  do  about  ours  —  that  they  were  sufficiently  accurate  for 
all  practical  purposes.  Moreover,  even  had  they  known  mod- 
em mechanical  precision.  I  strongly  suspect  that  they  were  too 
great  artists  to  have  wished  to  copy  it.  As  a  matter  of  fact 
there  is  nothing  which  adds  more  to  the  charm  of  Gothic  work, 
nothing  which  does  more  to  give  the  medieval  building  its 
distinct,  if  intangible  superiority  over  modem  imitations,  than 
this  very  deviation  from  the  mathematically  exact.  If  the 
Gothic  builders  had  ever  thought  of  constructing  with  cold 
precision,  this  consideration  would  have  deterred  them.  Prof. 
Goodyear  has  not  succeeded  in  showing  that  the  exact  varia- 
tions were  nicely  calculated.  The  Gothic  builders  felt  that 
an  irregular  line  was  more  effective  than  a  straight  one;  they 
did  not  work  out  a  geometrical  curve  which  should  bulge  two 
inches  here,  three  inches  there.  The  artist,  when  he  wishes 
to  draw  on  his  canvas  the  line  of  the  horizon  separating  sea  and 
sky,  does  not  take  his  T-square  and  triangle;  he  knows  rigid 
mechanical  accuracy  is  fatal  to  artistic  effect.  Neither  does 
lie  measure  out  mathematically  that  this  Hne  shall  curve  up- 
wards a  hundredth  of  an  inch  here,  and  downwards  a  thousandth 
there.  He  simply  draws  a  bold,  strong,  free-hand  line.  It 
matters  not  just  where  or  how  it  curves;  it  is  only  of  importance 

144 


ECONOMIC   CONDITIONS 

that  it  be  in  the  main  true,  but  without  the  disagreeable  hardness 
of  mechanical  work.  It  is  the  same  with  Gothic  architecture. 
True  enough  for  all  practical  purposes,  the  slight  irregularities 
of  its  lines  give  it  a  life,  a  charm,  and  an  artistic  quality, 
perfectly  analogous  to  that  of  a  free-hand  drawing.  The 
same  distinction  separates  Gothic  from  modern  architecture 
that  separates  an  etching  by  Haig  from  a  photograph. 


The  greatest  of  all  the  marvels  of  the  Gothic  cathedral  is 
the  age  which  produced  it.  Amid  the  broils  of  robber-barons, 
amid  the  clamor  of  communes  and  contending  factions,  amid 
the  ignorance  and  superstition  of  the  Church,  this  lovely  art, 
at  once  so  intellectual  and  so  ideal,  suddenly  burst  into  flower. 
It  seems  almost  like  an  anachronism,  that  this  architecture 
should  have  arisen  in  the  turbulent  Middle  Ages.  Yet  Gothic 
architecture,  although  in  a  sense  so  distinctly  opposed  to  the 
spirit  of  the  times,  was  none  the  less  deeply  imbued  with  that 
spirit,  and  can  be  understood  only  when  considered  in  relation 
to  contemporary  political,  ecclesiastical,  economic,  and  social 
conditions.  For  the  XII  century,  despite  its  darkness,  was 
yet  a  period  far  in  advance  of  what  had  gone  before  —  so  far 
that  M.  Luchaire  does  not  hesitate  to  name  it  "la  Renaissance 
fran9aise." 

Especially  in  the  field  of  literature  was  this  advance  con- 
spicuous. The  Alexis,  the  oldest  monument  in  the  French 
vernacular,  had  been  written  at  Rouen  as  early  as  1040-50 ;  but 
it  remained  an  almost  isolated  example  until  in  the  XII  century 
vernacular  literature  truly  came  into  existence.  Latin  poetry 
on  secular  subjects  began  to  appear  at  this  same  time ;  the  writing 
of  history  became  an  art;  sermons  multiplied.  The  XII  cen- 
tury is  the  age  of  the  earliest  and  most  beautiful  of  the  chansons 
de  geste  —  the  Chanson  de  Roland  and  the  Pelerinage  de  Charle- 
magne. These  feudal  epics  continued  from  this  time  to  in- 
crease in  number,  until  in  the  XIII  century  they  reached  their 
zenith  contemporaneously  with  Gothic  architecture.  In  the 
South,  the  trouveres  began  to  sing  their  courtly  lays  as  early 
as  the  beginning  of  the  XII  century,  and  ceased  only  when  the 

145 


THE   TRANSITION 

horrible  Albigensian  Cnisade  ruined  the  budding  culture  of 
the  Midi.  About  the  year  1180  through  Chretien  of  Troyes 
the  famous  cycle  of  the  Grail  legends  spread  from  France  over 
all  Europe.  Even  earlier  the  miracle  play  had  come  into  being, 
no  longer  as  part  of  the  liturgy,  but  as  a  separate  and  self-suflS- 
cient  drama,  largely  in  the  vernacular  tongue.     In  short,  the 

XII  century  saw  the  beginnings  and  the  development  of  a  sec- 
ular and  national  literature. 

Also  in  the  more  intellectual  and  less  popular  learning  of 
the  clerks  there  took  place  a  great  advance.  Not  only  in  such 
great  names  as  those  of  Abelard  and  St.  Bernard  —  giants  who 
loom  up  across  the  centuries  and  influence  even  the  thought  of 
our  own  times  —  but  in  the  hosts  of  smaller  scholars,  men  whose 
very  names  are  now  forgotten,  are  to  be  found  some  of  the 
keenest  intellects  that  the  Middle  Ages  produced.  The  XII 
century  was  the  age  of  dialectics  and  scholasticism;  the  age  of 
the  controversy  of  realist  and  nominalist;  the  age  when  was 
produced  and  codified  the  best  of  medieval  thought  and  dogma; 
the  age  when  flourished  the  famous  schools  of  Chartres,  of  Or- 
leans, of  Laon,  and  when  the  foundations  were  laid  for  the  great 
University  of  Paris,  destined  to  rise  to  such  greatness  in  the 

XIII  century. 

The  revival  spread  even  to  channels  unconnected  with  the 
ecclesiastical  dogma,  which,  up  to  this  moment,  had  absorbed 
all  the  intellectual  activity  of  the  Middle  Ages.  The  study  of 
Roman  law,  which  had  already  been  resuscitated  in  Italy,  was 
passionately  taken  up  by  the  scholars  of  the  North.  Classical 
literature,  from  the  most  secular  poets  to  the  most  religious 
early  fathers,  from  the  most  edifying  discourses  to  the  most 
immoral  lyrics,  was  studied  and  imitated  with  an  enthusiasm 
equaled  only  by  that  of  the  humanists  of  the  Renaissance. 
Above  all  the  XII  century  is  marked  by  the  spread  of  the  first 
serious  heresies.  Men  were  beginning  to  think  for  themselves 
even  against  the  universal  Church.  Two  peasants  were  burned 
for  heresy  at  Soissons  between  1108  and  1126.  In  1145  a  heret- 
ical sect  was  suppressed  at  Cologne.  Soon  after,  the  heretics 
Henri  de  Lausanne  and  Pierre  de  Bruis  obtained  such  a  numerous 
following  that  it  required    the  personal  efiorts  of  St.  Bernard 

146 


ADVANCE   OF   CIVILIZATION 

and  of  the  pope  himself  to  suppress  the  uprising.  Even  so, 
the  heresy  was  not  extirpated  but  really  formed  the  basis 
of  the  sect  of  the  Vaudois  and  Albigeois,  Avhich  in  the  early  XIII 
century  had  disaffected  the  entire  Midi,  and  was  put  down  only 
after  thirteen  years  of  massacre  by  the  united  forces  of  Christen- 
dom. 

The  intellectual  revolution  was  accompanied  by  an  economic 
upheaval  no  less  radical.  Herr  SchmoUer  has  even  compared 
it  to  that  which  took  place  in  the  XIX  century.  In  the  cities 
the  workmen  were  freed  from  serfage,  and  commenced  to  unite 
themselves  into  free  corporations;  and  the  same  process  was 
at  work  in  a  less  degree  among  the  villains  or  serfs  of  the  country. 
The  economic  advantages  of  this  emancipation  were  incalculable. 
The  pilgrimages,  the  journeys  of  the  French  chivalry  into  all 
parts  of  Europe,  above  all,  the  crusades,  opened  to  the 
merchants  a  field  of  activity  undreamed  of  heretofore.  The 
guilds  of  merchants,  which  ever  became  more  numerous  and 
stronger;  the  commercial  relations  that  were  established  be- 
tween Normandy  and  England;  the  redoubled  prosperity  of 
Montpellier  and  Marseille;  the  multiplication  of  markets;  the 
increasing  importance  of  the  great  fairs  of  Champagne  —  all 
these  conditions  betray  a  radical  transformation  in  the  material 
condition  of  the  population.  Everywhere  the  condition  of  the 
laborer  was  made  easier;  everywhere  the  cities  increased  their 
economic  production,  and  extended  their  traffic;  everywhere 
bridges  were  rebuilt  and  repaired;  everywhere  new  roads  were 
opened.     And  with  commerce,  came  wealth. 

The  power  for  evil  of  the  robber-barons,  while  certainly  not 
destroyed,  was  vastly  diminished.  These  plagues  of  society 
still  continued  to  prey  upon  Church  and  peasant,  but  the  rising 
monarchy  had  already  broken  their  power.  The  great  aim  of 
Louis  VI  (1108-37)  had  been  to  curb  the  violence  of  his  vassals; 
Louis  VII  (1137-80)  and  Philippe  Auguste  (1180-1223)  con- 
tinued and  extended  this  policy.  Thus  about  the  year  1200  the 
barons  were  more  nearly  subdued  to  the  royal  authority  than 
at  any  other  time  during  the  Middle  Ages. 

In  the  domain  of  politics,  the  same  prosperity  was  not  alto- 
gether maintained.     Under  Louis  VII  (1137-80)  the  Capetian 

147 


THE   TRANSITION 

lost  not  only  diplomatic  prestige  but  much  land.  The  marriage 
of  Eleanor  with  Henry  II  united  all  the  west  of  France  with 
England  under  the  Plantagenet  dynasty.  Between  this  millstone 
on  the  one  side  and  the  Empire  on  the  other,  the  French 
monarch  found  himself  stripped  of  one  piece  of  land  after 
another.  His  very  powerlessness,  however,  forced  him  to  keep 
peace,  even  with  dishonor,  and  thus  the  XII  century  in  France 
was  a  period  comparatively  free  from  war  —  a  fact  which  doubt- 
less favored  material  development.  And,  although  the  mon- 
archy lost  physical  power  and  its  domain  was  lessened,  still 
even  the  reign  of  Louis  VII  was  rich  in  domestic  moral  con- 
quests, since  the  influence  of  the  king  was  extended  to  the 
remotest  parts  of  France  and  the  foundations  for  French  unity 
and  patriotism  were  securely  laid.  This  patriotism  long  lay 
smoldering,  but  when  Philippe-Auguste  (1180-1223)  was  able 
to  lead  this  nation  so  newly  conscious  of  itself  from  victory  to 
victory,  to  overthrow  the  empire  of  the  Plantagenets,  to  double 
the  size  of  his  dominions,  and  finally  at  Bouvines  (1214)  to  over- 
whelm at  one  blow  English  king,  German  emperor,  and  revolted 
baron,  the  popular  national  enthusiasm  flared  into  a  brilliant 
flame.  In  the  patriotic  demonstrations  which  accompanied 
the  triumphal  progress  of  Philippe-Auguste  from  Bouvines  to 
Paris  might  well  be  found  suflBcient  cause  for  a  sudden  out- 
burst of  architectural  activity  such  as  seems  invariably  to 
follow  great  military  conquests.  But  as  a  matter  of  fact, 
Gothic  architecture  had  no  need  of  such  a  stimulant;  from 
the  moment  of  St.  Denis,  Amiens  had  become  inevitable. 

Thus  the  XII  century  saw  a  progress  in  civilization  not  un- 
worthy of  the  name  of  renaissance.  Yet  however  light  appears 
the  twilight  of  this  period  compared  with  the  darkness  that 
preceded,  it  should  not  be  forgotten  that  it  was  absolutely  very 
dim.  The  nobility  had  been  at  heart  but  little  touched  by  the 
dawning  ideals  of  chivalry,  and  their  sole  occupation  still  re- 
mained the  art  of  war.  The  country  was  torn  from  one  end  to 
the  other  by  petty  feuds  carrying  in  their  wake  devastation  and 
misery;  the  brief  intervals  which  intervened  between  these 
feuds  were  occupied  by  tournaments  and  jousts  the  imitation 
of  war,  and  hardly  less  bloody.     The  bands  of  brigands  who 

148 


LACK   OF   SANITATION 

swarmed  everywhere  over  the  land  made  all  traveling  danger- 
ous. Regularly  in  league  with  the  barons  and  even  with  the 
Church,  with  whom  they  shared  their  spoils,  these  robbers  were 
strong  enough  at  times  to  defy  a  royal  army.  The  taxes  levied 
on  the  laborer  by  the  king,  by  the  Church,  and  by  the  feudal 
lords  not  unfrequently  amounted  all  told  to  a  third  or  even  a 
half  of  his  total  produce.  Famines  were  of  such  frequent  occur- 
rence that  no  less  than  eleven  are  recorded  during  the  reign  of 
Philippe-Auguste,  and  so  severe  were  these  periods  of  want  that 
the  peasants  were  reduced  to  eating  roots,  dogs,  even,  it  was 
said,  human  flesh.  The  famine  of  1195  lasted  four  years;  in 
the  second  year  an  innumerable  number  perished  from  starva- 
tion —  innumeri  fame  perempti  sunt.  Expressions  like  these : 
multi  fame  perierunt,  moriuntur  fame  millia  millium  recur  with 
sickening  frequency  throughout  the  chronicles  of  the  XII  cen- 
tury. 

Nor  is  the  picture  even  of  the  more  prosperous  cities  of  the 
epoch  an  altogether  attractive  one.  The  houses  were  built 
almost  entirely  of  wood;  the  streets  were  narrow  and  winding. 
There  was  constant  danger  from  fire,  and  when  a  conflagration 
was  once  started  there  was  nothing  but  the  destruction  of  the 
entire  city  which  could  check  the  flames.  Rouen  was  burned 
six  times  between  1200  and  1225.  In  the  single  year  1188  Rouen, 
Troyes,  Beauvais,  Provins,  Arras,  Poitiers,  and  Moissac  were 
all  destroyed  by  fire.  Hundreds  of  persons  perished  in  the  great 
fire  of  Chartres  in  1194.  To  these  accidental  catastrophes 
were  added  the  fires  which  resulted  in  the  course  of  wars.  Every 
army  included,  besides  the  foragers,  a  special  corps  of  oflBcials 
whose  duty  it  was  to  set  fire  to  granaries,  houses,  villages,  and 
cities. 

Even  more  disastrous  were  the  plagues  and  epidemics  which 
raged  especially  in  the  towns.  The  population  had  not  the 
most  elementary  ideas  of  cleanliness  or  hygiene;  the  unpaved 
streets  were  merely  open  sewers.  In  Paris,  "the  most  beautiful 
of  cities,"  in  the  cemetery  of  Champeaux  situated  almost  in 
the  center  of  the  town,  the  dead  were  buried  so  near  the  surface 
that  in  time  of  rain  the  stench  became  intolerable.  It  is  not 
surprising   that   disease   spread   among   this   unwashed    people. 

149 


THE   TRANSITION 

To  these  natural  evils  was  added  the  violence  of  man.  Since 
there  was  practically  no  police  —  no  attempt  of  any  kind  to  pre- 
vent crime,  —  assassination,  murder,  theft,  and  rape  were 
committed  at  will.  Street  broils,  usually  with  fatal  termina- 
tions, were  of  daily  occurrence ;  no  availing  effort  was  made  by 
the  government  to  protect  the  lives  of  citizens  or  their  property. 

When  this  side  of  the  picture  is  considered,  it  becomes  diflS- 
cult  to  explain  the  growth  of  Gothic  architecture  merely  as  a 
result  of  the  generally  increased  prosperity  of  the  XII  century. 
Gothic  architecture,  moreover,  was  so  essentially  the  product 
of  the  single  province  of  the  He  de  France,  that  it  seems  as  if 
some  peculiar  local  condition  in  the  royal  domain  must  have 
favored  its  growth.  This  stimulus  Viollet-le-Duc  saw  in  the 
commune.  In  his  view  the  cathedral  was  little  more  than  a 
town  hall  —  a  vast  monument  of  civic  pride,  erected  as  much 
for  secular  as  for  ecclesiastical  ends,  and  essentially  the  work 
of  the  bourgeoisie. 

The  thesis  is  attractive.  It  is  pleasant  to  believe  in  the 
democracy  of  great  art.  Consequently  the  great  majority  of 
archaeologists  have  accepted  VioUet-le-Duc's  opinion,  although 
of  late  years  there  has  been  a  growing  tendency  to  view  with  a 
more  or  less  openly  expressed  scepticism  the  supposed  popular 
character  of  the  Gothic  church.  It  is,  therefore,  worth  while 
to  examine  in  some  detail  the  evidence  upon  which  this  theory 
is  based. 

The  cathedral  itself  offers  but  slight  confirmation  of  such  a 
theory.  ^lany  windows  at  Chartres  and  Bourges,  it  is  true, 
were  given  by  various  trade  guilds,  a-s  is  known  from  the  lower 
medallions  which  depict  the  particular  handicrafts  of  the 
donors.  At  Amiens  and  elsewhere,  beneath  the  signs  of 
the  zodiac,  are  sculptured  genre  scenes  portraying  the  life  of  the 
peasant  at  various  seasons  (111.  265),  and  beneath  the  virtues  are 
similar  genre  scenes  portraying  the  vices.  The  grotesque  carvings, 
as  has  been  mentioned,  also  seem  to  be  of  popular  character. 
This  is  the  extent  of  the  distinctly  democratic  elements  that 
can  be  traced  in  Gothic  ornament.  The  guild  windows  prove 
that  the  corporations  did  contribute  a  certain  amount  of  stained 
glass  towards  the  erection  of  the  building.     As  for  the  sculp- 

150 


LETTER   OF  HAYMO 

tures  and  grotesques,  such  small  details  are  they  in  the  vast  mass 
of  ecclesiastical  ornament,  that  here  the  artist  may  well  have 
slipped  away  a  moment  from  the  strict  tutelage  of  the  clerks. 

More  serious  are  certain  texts  which  date  especially  from 
about  the  middle  of  the  XII  century  and  bear  witness  to  a  most 
remarkable  condition  of  popular  religious  enthusiasm.  The 
most  illuminating  of  all  these  is  a  letter  of  Haymo,  abbot  of 
St.-Pierre-sur-Dives,  in  Normandy,  —  a  letter  which  it  will  be 
well  to  let  speak  for  itself. 

"Who  ever  saw,  who  ever  heard  in  all  former  generations, 
of  such  a  thing,  that  rulers,  princes,  potentates,  full  of  the 
honors  and  riches  of  the  world,  men  and  women  of  noble 
birth,  should  submit  their  haughty  and  puffed-up  necks  to 
be  bound  by  straps  to  carts,  and  like  beasts  of  burden 
should  drag  to  the  asylum  of  Christ  loads  of  wine,  wheat, 
oil,  mortar,  stones,  wood,  and  whatever  else  is  necessary  for 
the  maintenance  of  life  or  for  the  construction  of  the  church  ? 
Moreover,  it  is  wonderful  to  see  how,  although  a  thousand  or 
even  more  men  and  women  are  yoked  to  one  cart  (so  great  is 
the  size  of  the  carts  and  so  heavy  the  load  piled  upon  them), 
nevertheless  the  whole  company  marches  along  in  such  silence 
that  no  voice,  no  sound  is  heard;  and  unless  you  saw  with  your 
eyes,  far  from  believing  that  such  a  multitude  was  present, 
you  would  not  think  that  there  was  a  single  person.  And  when 
a  halt  is  made  on  the  road,  there  is  no  other  sound  but  the  con- 
fession of  faults  and  orison  to  God,  and  holy  prayer  for  the  for- 
giveness of  sins.  During  these  halts  the  priests  preach  peace, 
and  straightway  hatred  is  lulled  to  sleep,  discords  are  driven 
out,  debts  are  forgiven,  and  the  unity  of  spirits  restored.  More- 
over, if  any  one  has  fallen  into  such  an  evil  way  that  he  is  unwill- 
ing to  humble  himself  as  a  sinner,  or,  when  piously  admonished, 
to  obey  the  priests,  immediately  his  portion  is  cast  from  the 
cart  as  unclean,  and  he  himself  with  much  shame  and  ignominy 
is  separated  from  the  company  of  the  holy  people.  There,  as 
the  faithful  relate,  you  might  see  the  infirm  and  those  smitten 
with  diverse  ailments  arise  cured  from  the  carts  to  which  they 
had  been  harnessed ;  you  might  see  the  dumb  open  their  mouths 
in  the  praise  of  God;  you  might  see  those  troubled  by  unclean 

151 


THE   TRANSITION 

spirits  recover  their  sanity;  you  might  see  the  priests,  who 
presided  over  the  various  carts  of  Christ,  exhort  all  to  peni- 
tence, to  confession,  to  lamentation,  and  to  the  leading  of  a 
better  life;  you  might  see  the  people  themselves  prostrate  on 
the  ground,  lying  flat  on  their  bellies,  kissing  long  the  dust;  you 
might  see  old  men  and  young,  and  boys  of  tender  age,  calling 
on  the  mother  of  God  and  appealing  to  her  with  sobs  and  sighs 
from  the  bottom  of  their  hearts,  in  the  voice  of  confession  and 
praise.  All  this  is  known  to  be  the  work  of  Christ,  but  after 
Him,  especially  of  the  Virgin,  for  she  herself,  after  Him,  par- 
ticularly showed  her  graciousness  in  these  events.  She  it  was 
who  made  famous  first  the  church  of  Chartres  and  then  ours, 
both  dedicated  to  herself,  by  means  of  so  many  wonderful  mira- 
cles, that  if  I  wished  to  tell  what  I  have  seen  in  even  a  single 
night  my  memory  would  fail  and  my  tongue  be  exhausted.  .  .  . 
To  return,  therefore,  to  what  I  began  to  tell,  when  the  faithful 
set  out  upon  the  road,  to  the  sounding  of  trumpets  and  to  the 
waving  of  the  banners  carried  before,  nothing  retarded  them 
in  their  progress,  neither  the  height  of  mountains  nor  the  inter- 
vening depths  of  waters.  And  when  the  different  troops  came 
to  a  river  which  must  be  crossed,  even  in  a  place  that  had  never 
been  attempted  before,  just  as  the  people  of  the  Hebrews  of 
old  boldly  entered  into  the  Jordan,  so  these  troops  entered  with- 
out hesitation  into  the  waters;  and  verily  at  the  place  which  is 
called  Port-Ste. -Marie  the  waves  of  the  sea  stood  back  for  them 
to  pass  while  they  crossed  over  to  us  who  were  coming  to  meet 
them;  —  a  miracle  which  is  faithfully  witnessed.  It  is  compre- 
hensible that  old  men  and  the  aged  should  undertake  this  labor 
and  ser\'ice  because  of  the  number  of  their  sins.  But  what 
induced  boys  and  children  to  do  it  ?  ^Tho  persuaded  them,  if 
not  that  good  doctor  who  achieved  His  glory  by  the  word  and 
deed  of  babes  and  sucklings  ?  .  .  .  And  such  children  you  might 
see,  together  with  kings  and  potentates,  yoked  to,  and  dragging, 
the  hea^y  carts.  These  children  are  not  bent  down  by  the  bur- 
den as  are  the  elders,  but  stand  erect,  and  advance  just  as  if 
bearing  no  weight;  and  what  is  still  more  miraculous,  they 
outstrip  their  elders  in  speed  and  agility.  .  .  .  [In  a  pas- 
sage which  I  omit  it  is  described  how  the  people  arrive  at  the 

152 


LETTER    OF   HAYMO 

church  dragging  the  carts  and  begin  to  pray  for  miracles  of 
healing].  ...  If,  moreover,  the  cures  are  a  little  slow  in  com- 
ing, and  at  the  prayer  do  not  immediately  take  place,  you  might 
see  the  people  strip  off  all  their  garments,  men  and  women 
make  themselves  naked  above  the  loins,  and  in  all  abject  con- 
fusion fall  on  the  ground,  while  the  boys  and  children  act  in 
even  a  more  devout  raanner.  For  they  fall  prone  on  the  ground, 
and  no  longer  creeping  on  hands  and  knees  but  rather  dragging 
the  whole  body  in  the  dust,  they  seek  first  the  great  altar  and 
then  the  various  other  altars,  calling  all  the  while  upon  the  Mother 
of  Mercy.  This  new  sort  of  supplication  certainly  moves  her 
to  make  petitions  in  their  behalf.  For  it  does  not  suffice  — -  what 
certainly  was  to  be  wondered  at  in  that  tender  youth  —  that 
immense  uproar  with  weeping;  it  does  not  suffice,  I  say,  that 
pouring  out  of  tears ;  but  to  obtain  more  quickly  the  cure  of  the 
sick,  voluntary  corporal  punishment  is  resorted  to.  Therefore 
the  priests,  though  with  tears,  stand  above  them,  striking  with 
whips  the  tender  exposed  limbs,  and  those  who  are  struck  pray 
them  not  to  spare  nor  do  they  wish  them  to  be  merciful.  A  single 
voice  sounds  forth  from  all:  'Strike,  whip,  smite,  and  spare  not! ' 
"Such  sacred  scenes  had  first  taken  place  in  connection 
with  the  building  of  the  church  at  Chartres,  and  thence  the  holy 
institution  came  to  be  established  among  us  in  consequence  of 
innumerable  miracles;  at  last  it  spread  throughout  the  length 
and  breadth  of  almost  all  Normandy,  and  especially  was  estab- 
lished in  almost  all  places  dedicated  to  the  Mother  of  Mercy. 
But  our  church  —  that  is  to  say,  hers  —  in  which  we  unworthy 
serve  her  and  her  sweetest  Son,  she  herself,  —  merciful  and  gra- 
cious lady  —  made  glorious  (as  we  have  said  above)  with  so 
many  miracles  and  distinguished  by  so  many  clear  tokens  as  an 
everlasting  memorial  to  her  benign  Son  and  to  herself,  that  the 
multitude  of  faithful  ran  hither  from  different  and  very  remote 
parts  of  the  world,  and  here  obtained  the  speedy  fulfilment  of 
their  petitions  in  whatsoever  necessity  they  supplicated."^ 

'  Quis  enim  vidit  mnquam,  qviis  audivit  in  omnibus  generationibus  retroactis,  ut  tyranni, 
principes,  potentes  in  saeculo  honoribus  et  divitiis  inflati,  nobiles  natu  viri  et  mulieres  superba  ac 
tumida  colla  loris  nexa  plaustris  summitterent,  et  onusta  vino,  tritico,  oleo,  calce,  lapidibus,  lig 
nis,  caeterisque  vel  vitae  usui  vel  structurae  ecclesiarum  necessariis  ad  Christ!  asilum,  animal 

153 


THE   TRANSITION 

I  should  not  know  where  to  find  a  more  vivid  portrayal  of 
the  spirit  of  medieval  religion  than  is  afforded  by  this  passage; 
—  medieval  religion  in  its  fanaticism,  its  belief  in  miracles,  its 
mortification  of  the  flesh,  its  hysteria.  With  all  due  allowances 
of  the  exaggeration  of  the  edified  abbot,  this  vivid  account  by 
an  eye  witness  brings  us  face  to  face  with  the  fervent  religious 
enthusiasm  of  the  masses  in  the  XII  century.  There  is  nothing 
in  this  text,  however,  to  show  that  the  extraordinary  scenes 
described  were  in  any  way  stimulated  by  popular  enthusiasm 
for  architecture.  The  people  yoked  themselves  to  the  carts, 
not  because  they  were  interested  in  having  a  fine  church  in 
their  town,  but  because  they  wished  to  acquire  salvation  by 
humiliating  the  flesh.  The  scene  of  the  flagellation  in  the 
church,  and,  indeed,  the  whole  tenor  of  the  description  makes 
this  clear.  The  monks  were  merely  shrewd  enough  to  turn  this 
religious  enthusiasm  of  the  multitude  to  their  OAvn  advantage. 
That  they  even  went  so  far  as  to  stimulate  such  hysteria  with 
the  express  purpose  of  profiting  from  it,  seems  to  be  proved  by 

ium  more  brutorum,  perlraherent  ?.  Li  traliendo  autem  illud  mirabile  %'idere  est,  ut  cum  mille 
interdura  vel  eo  amplius  viri  vel  fcminae  plaustro  innexi  sint  (tanta  quippe  moles  est,  tanta  ma- 
cliina,  tantum  et  onus  impositum)  tanto  tamen  silcntio  incedatur  ut  nullius  vox,  nullius  certe 
mussitatio  audiatur,  ac,  nisi  videas  oculis,  adesse  nemo  in  tanta  multitudine  estimetur.  Ubi 
autem  in  via  subsistitur,  nihil  aliud  resonat  nisi  confessio  criminum  et  supplex  ad  Deum  puraque 
oratio  pro  impetranda  venia  delictorum;  ibi  praedicantibus  pacem  sacerdotibus  sopiuntur  odia, 
discordia  propulsantur,  relaxantur  debita  et  animorum  imitas  reparatur.  Si  quis  autem  in  tan- 
tum malmn  progressus  fuerit,  ut  nolit  peccanti  in  se  demittere  aut  unde  pie  admonetur  sacerdo- 
tibus obedire,  statim  ejus  oblatio  taiiquara  immunda  de  plaustro  abjecitur,  et  ipse  cum  pudore 
niulto  et  ignoniinia  a  sacri  populi  consortio  separatur.  Ibi  ad  orationes  fidelium  videas  infirmos 
quosque  et  languoribus  variis  debiles  ex  plaustris  quibus  impositi  fuenint  sanos  exsurgere,  mutos 
ad  laudes  Domini  era  aperire  et  vexatos  a  daemonibus  saniorem  mentem  recipere.  Videas 
sacerdotes,  Christi  plaustris  singulis  praesidentes,  ad  poenitentiam,  ad  confessionera,  ad  lamenta, 
ad  melioris  ^^tae  propositum  universos  hortari,  ipsos  humi  prostratos  ac  toto  corpore  incuni- 
bentes  terram  diutius  osculari,  senes  cum  junioribus  et  pueris  tantillae  aetatis  matrem  Domini 
conclamare  atque  ad  ipsam  praecipue  singultis  suspiriaque  ab  intimis  praecordiis  cum  voce 
confessionis  et  laudis  dirigere;  ejus  enim  post  benignum  filium  maxime  hoc  opus  esse  dig- 
noscitur;  ipsa  se  in  hoc  opere  post  ipsum  praecipue  commenda\it,  ipsa  primum  Camotensem 
ecclesiam  ac  turn  nostram,  dicatani  tibi,  tot  ac  tantis  \'irtutibus  ac  miraculis  illustravit,  ut  si  ea 
quae  sub  una  tantum  nocte  \-idere  merui  velim  exprimere,  memoria  prorsus  et  lingua  deficiat. 
.  .  .  Ubi  autem  fidelis  populus,  ut  ad  coepta  redeam,  ad  clangorem  tubarum,  ad  erectionem 
vexillorum  praeeuntium  sese  viae  reddidit,  quod  dictu  mirabile  est,  tanta  facilitate  res  agitur, 
ut  eos  ab  itinere  nil  retardet,  non  ardua  montium,  non  profunditas  interjecta  aquarum,  sed 
sicut  de  antique  illo  Hebraeorum  populo  legitur  quod  Jordanem  ingressi  sint  per  turmas  suas, 
ita  singuli,  cum  ad  flumen  transmeandum  venerint,  e  regione  subito,  ducente  eos  Domino,  in- 
cunctanter  ingrediantur,  adeo  ut  etiam  fluctus  maris,  in  loco  qui  dicitur  Portus  Sanctae  Mariae 
dum  transirent  ad  nos  venientes,  stetisse  ab  ipsis  transeuntibus  fideliter  asseratur.    Nee  mirandum 

154 


MEDIEVAL   RELIGION 

another  passage  of  the  same  letter:  "When  the  fame  of  the 
miracles  (by  which  the  blessed  mother  of  God  and  immaculate 
Virgin  Mary  had  shown  she  and  her  son  were  benignly  present 
at  Chartres)  had  spread  far  and  wide  and  came  also  to  us  her 
unworthy  servants,  and  when  these  miracles  had  acquired 
great  celebrity  by  the  witness  of  the  faithful,  a  greater  devotion 
for  her  commenced  to  be  noticeable  in  our  church  together  with 
a  daily  increase  in  her  worship,  and  a  veneration  much  more 
profound  than  usual.  Therefore,  since  our  monks  had  heard 
that  at  Chartres  certain  carts,  built  in  a  new  manner,  had  been 
loaded  with  materials  necessary  for  the  church  of  the  sin-freeing 
pious  mother  of  God  and  had  been  dragged  by  the  French  popu- 
lace, they  also  with  great  diligence  constructed  a  cart  in  honor 
of  the  same  mother  of  God,  and  this  they  devotedly  dedicated 
to  completing  the  new  church  building,  which  had  been  com- 
menced in  the  times  of  King  Henry,  but  whose  construction  had 
now  been  interrupted  many  years."  ^     This  significant  passage 

sane  est  seniores  et  majores  aetate  id  laboris  et  oneris  propter  multitudinem  peccatorum  suorum 
assumere.  Puerulos  autem  et  infantes  quid  ad  id  compulit  ?  quis  adduxit  ?  nisi  ille  doctor  bonus 
qui  laudem  suam  et  ore  et  opere  infantium  lactentiumque  perfecit.  .  .  .  Hos  enim  videas,  eum 
regibus  suis  simul  et  ducibus,  plaustris  suis  onustis  innexos,  non  incurves  sicut  majores  trahere, 
sed  erectos  et  tanquam  nil  oneris  perferentes  incedere,  et,  quod  his  mirabilius  est,  alacritate 
simul  velocitate  majores  praecedere.  ...  Si  autem  sanitates  ad  modicum  tardaverint,  et  non 
statim  ad  votum  fuerint  subsecutae  illico,  videas  universos  vestes  abjecere,  nudos  simul  viros 
cum  mulieribus  a  lumbis  et  supra,  confusione  omni  abjecta,  solo  ineumbere,  puerulos  et  infantes 
idem  devotius  agere  et  ab  ecclesiae  atriis  solo  stratos  non  jam  genibus  et  manibus  sed  potius 
tractu  corporis  totius  primum  ad  altare  majus  dein  ad  altaria  singula  repere,  matrem  misericordiae, 
novo  quodam  obsecrantium  penere,  inclamare  atque  ibi  statim  ab  ea  petitionum  suarum  pia 
desideria  extorquere  certe.  Non  enim  sulBcit  quod  certe  mirandum  esset  in  tenella  aetate,  clamor 
ille  immensus  cum  fletu,  non  sufBcit,  inquam,  lacrimarum  ilia  profusio,  ni  adhibeatur  etiam  pro 
salute  debilium  impetranda  celerius  ultronea  corporalis  afflicto.  Astant  ergo  desuper  sacerdotes 
cum  lacrimis  membra  tenerrima  exposita  flagellis  cedentes  et  ne  parcant  orantur  a  caesis  neve 
esse  velint  in  feriendo  clementes.  Omnium  ibi  ima  vox  resonat:  "Caedite,  percutite,  verberate 
et  nolite  parcere!"  .  .  .  Hujus  sacrae  institutionis  ritus  apud  Carnotensem  est  ecclesiam  in- 
choatus,  ac  deinde  in  nostra  virtutibus  imiumeris  confirmatus;  postremo  per  totam  fere  Nor- 
maniam  longe  lateque  convaluit  ac  loca  pene  singula,  matri  misericordiae  dicata,  praecipue 
occupavit.  Nostram  autem,  immo  suam,  in  qua  ei  post  dulcissimum  filium  suum  indigni  licet 
deservimus,  tanta  miraculorum  gloria  clemens  ipsa  et  benignissima  domina,  ut  supra  diximus, 
illust^a^'it,  tanta  signorum  claritate  ad  perennem  benigni  filii  suamque  memoriam  sublimavit, 
ut  de  diversis  longeque  remotis  niundi  partibus  ad  earn  fidelium  multitudo  conveniat,  ibique 
petitionum  suarum  effectum  celerem,  de  quacumque  clamaverit  necessitate,  obtineat.  —  Haymo, 
abbas  S.  Petri  Divensis,  Relatio  de  miraculis  b.  Mariae,  Ed.  Leop.  Delisle  in  Bibliotheque  de 
I'Ecole  des  Chartes.  Ser  V.  Tom.  I.  1860,  p.  120-139.  Also  in  Bouquet,  Recueil  des  historiens 
des  Gaules  et  de  la  France,  XIV,  p.  318,  319. 

'  Cum  miraculorum,  in  quibus  beata  Domini  mater  et  perpetua  virgo  Maria  filii  sui  suam 

155 


THE   TRANSITION 

makes  it  evident  that  the  popular  hysteria  was  merely  utihzed 
by  the  monks  to  aid  in  the  construction  of  the  church,  and  that 
it  was  not  the  church  building  itself  that  carried  the  people  to 
such  spectacular  extremes  of  religious  emotion. 

Noteworthy  is  Haymo's  account  of  the  spread  of  this  peculiar 
cult.  Begun  at  Chartres  (1144)  it  was  copied  at  St.  Pierre- 
sur-Dives  in  1145,  whence  it  spread  through  all  Normandy. 
These,  facts,  which  are  reiterated  no  less  than  three  times  in 
the  account  of  Haymo,  are  further  confirmed  by  a  letter  of  Hugh, 
bishop  of  Rouen,  to  Thierry,  bishop  of  Amiens,  dating  from 
this  same  year,  1145.  "Hugh,  priest  of  Rouen  to  the  reverend 
father  Thierry,  bishop  of  Amiens;  may  thou  ever  prosper  in 
Christ.  The  great  works  of  the  Lord  are  shown  in  all  His 
designs.  At  Chartres  they  commenced  in  humility  to  draw 
carts  and  beams  for  the  construction  of  the  church,  and  this 
humility  brought  forth  miracles.  The  fame  of  these  spread 
abroad  and  excited  our  Normandy.  Therefore  our  diocesans, 
having  accepted  our  blessing,  went  to  Chartres  and  fulfilled 
their  vows.  After  this,^  in  a  similar  manner,  they  commenced 
to  come  from  throughout  our  diocese  to  their  own  cathedral 
church  of  Rouen,  having  made  this  condition,  that  no  one  should 
come  in  their  company  unless  he  should  first  confess  and  re- 
pent, and  unless  he  should  lay  aside  wrath  and  envy.  Thus 
those  who  were  formerly  enemies  came  into  abiding  concord 
and  peace.  These  requisites  filled,  one  among  them  is  made 
chief,  at  whose  command  they  drag  with  their  own  arms  the 

que  benignam  praesentiam  commendabat,  fama  longe  lateque  crebresceret  et  ad  nos  usque, 
indignos  licet,  ejus  famulos  attestatione  fidelium  celebratior  penenisset,  turn  circa  earn  devotio 
major  coepit  excrescere,  et  quotidianus  incrementis  cultus  ejus  apud  nos,  veneratioque  multo 
solito  amplior  pullulare.  Sed  et  nostri,  comperto  quod  in  Galliis  plaustra  quaedam  no\-i  fierent 
apparatus,  atque  a  Galliarum  populis  Caraotum  onusta  emendandae  piae  Domini  genitricis 
basilicae  necessariis  ducerentur,  plaustrum  et  ipsi  in  honore  ejusdem  matris  Domini  multa  cum 
diligentia  extruxerunt,  quod  et  peificiendo  novo  open,  inchoato  a  regis  Henrici  temporibus, 
sed  a  multis  jam  annis  intermisso,  devotissime  dedicarunt. 

^  The  interpretation  of  this  passage  is  open  to  doubt.  An  alternative  translation  would 
be:  —  "After  this,  [other  bands  of  pilgrims  departing]  from  cur  diocese  [for  Chartres],  commenced 
to  come  [to  receive  our  blessing]  to  their  own  cathedral  church  of  Rouen  [before  departing]." 
The  Latin  is  unfortunately  so  ambiguous  that  it  is  possible  to  understand  it  in  either  sense. 
The  reading  I  have  adopted,  however,  which  is  that  authorized  by  M.  Loisel,  seems  more  natural 
than  the  alternative,  and  better  suits  the  context.  It  is  certain  that  the  cart  cult  spread  through 
Normandy  at  this  epoch,  and  also  that  works  were  in  progress  about  this  time  at  the  cathedral 
of  Rouen;  this  translation,  therefore,  is  consistent  \s-ith  known  conditions. 

156 


THE   CULT   OF   CARTS 

carts,  advancing  in  humility  and  silence,  and  bringing  thus 
their  offering  not  without  discipline  and  tears.  These  three 
conditions  which  we  have  related,  —  confession  with  penitence, 
the  laying  aside  of  all  malevolence,  humility  and  obedience  in 
following  their  leader,  we  required  from  them  when  they  came 
to  us,  and  we  received  them  piously,  and  absolved  and  blessed 
them  if  these  three  conditions  were  fulfilled.  While  in  this 
spirit  they  were  accomplishing  their  journey,  very  many  mir- 
acles took  place  in  our  churches,  and  the  sick  who  had  come 
with  them  were  made  whole.  And  we  permitted  our  diocesans 
to  go  out  of  our  see,  but  we  forbade  them  to  go  to  those  excom- 
municated or  under  the  interdict.  These  things  were  done  in 
the  year  of  the  incarnation  of  the  word  1145.     Farewell."^ 

Noteworthy  is  the  fact  that  this  cult  of  dragging  carts, 
although  begun  at  Chartres,  flourished  especially  in  Normandy. 
Now  Normandy,  at  precisely  this  moment,  was  peculiarly  back- 
ward in  architectural  development.  If  the  cult  of  carts  had  been 
a  result  of  any  popular  enthusiasm  for  building  a  great  church, 
we  should  expect  to  find  just  the  opposite  the  case.  On  the 
other  hand  in  the  He  de  France,  where  Gothic  art  was  germi- 
nating, there  are  very  few  traces  of  this  cult.  Outside  of  Chartres 
the  only  records  of  such  demonstrations  occur  in  connection  with 
St.  Denis. 

The  account  which  Abbe  Suger  has  left  us  of  the  cart  cult 

1  Reverendo  patri  T.  Ambamensium  episcopo,  Hugo,  Rothomagensium  sacerdos,  pros- 
perari  semper  in  Christo.  Magna  opera  Domini  exquisita  in  omnes  voluntates  ejus.  Apud 
Carnotum  coeperunt  in  humilitate  quadrigas  et  carpentra  trahere  ad  opus  ecclesiae  constru- 
endae,  eorum  humilitas  etiam  miraculis  choruscare.  Haec  fama  Celebris  circumquaque  per- 
venit,  nostram  denique  Normaniam  excitavit.  Nostrates  igitur,  benedictione  a  nobis  accepta, 
illuc  usque  profecti  sunt,  et  vota  sua  persolverunt.  Deinde  forma  simili  ad  matrem  suam  eccle- 
siam  in  diocesi  nostra  per  episcopatus  nostras  venire  coeperunt,  sub  tali  proposito  quod  nemo  in 
eorum  comitatu  veniret,  nisi  prius  data  confessione  et  poenitentia  suscepta,  nisi  deposita  ira  et 
malivolentia,  qut  prius  inimici  fuerant  convenirent  in  concordiam  et  pacem  firmam.  His  prae- 
missis,  imus  eorum  princeps  statuitur,  cujus  imperio  in  humilitate  et  silentio  trahunt  quadrigas 
suas  humeris  suis,  et  praesentant  oblationem  suam  non  sine  disciplina  et  lacrimis.  Tria  ilia 
quae  praemisimus,  confessionem  %'idelicet  cum  poenitentia,  et  concordiam  de  omni  malivolentia, 
et  humilitatem  veniendi  cum  obedentia,  requirimus  ab  eis  cum  ad  nos  veniunt,  eosque  pie  re- 
cepimus  et  absolvimus  et  benedicimus  si  tria  ilia  deferunt.  Dum  sic  intormati  in  itinere 
veniunt,  quandoque  et  in  ecclesiis  nostris  quam  maxime  miracula  creberrima  Sunt,  de  suis  etiam 
quos  secum  deferunt  infirmis,  et  redecuut  sanos  quos  secum  attulerimt  invalidos.  Et  nos  per- 
mittimus  nostros  ire  extra  episcopatus  nostros,  sed  prohibemus  eos  ne  intrent  ad  excommuni- 
catos  vel  interdictos.  Facta  sunt  haec,  anno  incarnati  Verbi  M°  C°  XL°  V°.  Bene  Vale. — 
Bibl.  Nat.  Ms.  Latin  14146,  fol.  167,  V°.     Cit.  Loisel. 

157 


THE   TRANSITION 

at  this  abbey  deserves  careful  study:  "How  often  did  both  our 
own  people  and  our  very  devoted  neighbors,  nobles  and  serfs 
together,  tie  about  their  arms,  their  chests,  their  shoulders,  the 
ropes  attached  to  the  columns  to  drag  them  up  a  hill!  Thus 
instead  of  beasts  of  burden  did  they  labor.  And  when  they 
had  advanced  halfway  up  the  hill,  different  officers  of  the  castle, 
leaving  the  tools  of  their  toil,  would  come  to  offer  their  aid  to 
the  difficulty  of  the  way,  by  this  timely  aid  ingratiating  them- 
selves to  God  and  the  holy  martyrs."  *  Thus  by  the  testimony 
of  another  eye  witness,  it  was  the  hope  of  acquiring  salvation 
and  no  especial  appreciation  of  architectural  art  that  moved  the 
people.  For  the  rest  this  enthusiasm  at  St.  Denis  seems  to  have 
been  but  of  the  slightest  possible  aid  in  the  actual  construction 
of  the  church.  Men,  after  all,  are  not  a  particularly  practical 
substitute  for  horses,  and  a  few  teams  of  oxen  would  doubtless 
have  transported  the  building  materials  quite  as  effectively 
as  the  thousands  of  faithful.  Without  question  the  Church 
profited  by  all  this  enthusiasm;  but  she  spent  these  resources 
in  the  construction  of  monuments  which  reflected  her  own  ideas, 
not  those  of  the  people.  Suger,  in  his  two  works  relating  to 
the  rebuilding  of  St.  Denis  —  works  in  which  he  describes  with 
the  greatest  detail  not  only  the  actual  course  of  the  construction, 
but  such  minutiae  as  the  means  by  which  he  raised  resources  to 
defray  the  expenses  of  the  building,  and  his  efforts  to  obtain  suit- 
able materials  —  refers  to  cooperation  on  the  part  of  the  people 
only  in  the  few  lines  quoted  above.  It  is  easy  to  see  of  how 
little  practical  account  he  holds  their  aid.  And  yet  at  St.  Denis 
the  relations  between  people  and  monk  were  extraordinarily 
cordial.  Suger  had  been  the  most  liberal  of  abbots;  and  he 
himself  tells  us  that  on  festivals  so  great  a  number  of  people 
attended  mass  in  the  abbey  church,  that  the  women  with  much 
uproar  pressed  to  the  altar  "walking  upon  the  heads  of  the  men 
as  upon  a  pavement!"     It  was  at  times  even  necessary  to  ab- 

1  Quotiens  autem  columnae  ab  imo  declivo  fundibus  innodatis  extrahebantur,  tam  nos- 
trates  quam  loci  afBnes  bene  devoti,  nobiles  et  innobiles,  brachiis,  pectoribus,  et  lacertis  fundi- 
bus adstricti  vice  trahentium  animalium  educebant;  et  per  medium  castri  dccli\'ium  diversi 
officiales,  relictis  officiorum  suorum  instrumentis,  vires  proprias  itineris  difficultati  ofFerentes, 
obviabant,  quanta  poterant  ope  Deo  sanctisque  Martyribus  obsequentes.  (Sugerii,  De  con. 
Ec.  II.) 

158 


THE   CULT   OF   CARTS 

stract  the  host  from  the  altar  in  order  to  protect  it  from  desecra- 
tion by  the  too  eager  multitude.^ 

Outside  of  Chartres  and  St.  Denis  there  is  no  instance  in 
the  lie  de  France  where  it  is  recorded  that  the  people  col- 
laborated in  the  construction  of  the  abbey  or  cathedral.  An 
attempt  seems  to  have  been  made  at  Chartres  to  revive  the 
scenes  of  1144  again  after  the  fire  of  1194,^  but  this  effort  met  with 
only  partial  success.  Since  the  chroniclers  of  the  Middle  Ages 
especially  delighted  in  recording  all  events  which  redounded 
to  the  glory  of  Mother  Church,  it  is  quite  safe  to  conclude  from 
their  silence  that  the  cult  of  carts  never  spread  farther  in  the 
He  de  France.  In  Normandy  itself  the  cult  is  never  heard  of 
after  1145.  Consequently  this  idea  of  dragging  carts,  while  a 
most  typical  and  instructive  manifestation  of  medieval  religion, 
was  not  one  that  was  widely  spread  or  of  long  duration. 

A  passage  in  Robert  de  Mont,  while  seeming  to  contradict, 
in  reality  confirms  this  view:  —  "In  this  very  year  (1144)  at 
Chartres  men  first  began  to  drag  with  their  own  arms  carts 
loaded  with  blocks  of  stone  and  beams  and  grain  and  other 
things  for  the  construction  of  the  church,  whose  towers  were  then 
building.  Who  has  not  seen  these  things  never  will  see  the  like. 
Not  only  at  Chartres,  but  indeed  in  almost  all  France  and  Nor- 
mandy and  in  many  other  places,  everywhere  there  was  humility 
and  mortification.  Men  submitted  to  crawl  through  deep 
swamps  on  hands  and  knees,  and  to  be  struck  with  whips;  every- 
where many  miracles  came  to  pass,  and  song  and  praise  were 
rendered  God.  For  there  is  extant  about  this  thing  unheard- 
of  before,  a  letter  of  Hugh,  archbishop  of  Rouen,  to  Thierry, 
bishop  of  Amiens,  who  wrote  to  inquire  on  this  subject."' 

1  The  original  text  is  quoted  in  the  List  of  Monuments,  p.  198. 

^  See  Le  Lime  des  Miracles  de  Notre  Dame  de  Chartres,  written  in  verse  in  the  XIII  century 
by  Jehan  le  Marchant  and  published  by  M.  G.  Duplessis,  Chartres,  1855,  8vo. 

^  Hoc  eodem  anno  cepenuit  homines  prius  apud  Carnotum  carros  lapidibus  onustos  et 
hgnis,  annona  et  rebus  aliis,  siiis  humeris  trahere  ad  opus  ecclesie,  cuius  turres  tunc  fiebant. 
Que  qui  non  vidit,  iam  simiHa  non  videbit.  Non  solum  ibi,  sed  etiam  in  tota  pene  Francia  et 
Normannia  et  aliis  multis  locis,  ubique  humilitas  et  afflicto,  profundas  paludes  genibus  trahere, 
verberibus  cedi,  creba  ubique  miracula  fieri,  Deo  cantus  et  iubilos  reddi.  Extat  enim  de  hac 
re  prius  inaudita  Hugonis  epistola  Rothomagensis  archiepiscopi  ad  Theodoricum  episcopum 
Ambianensem,  super  hac  rescicit  autem.  —  Roberti  de  Monte,  Cronica.  (Mon.  Germ.  Hist. 
Scriptores,  VI,  p.  496.) 

159 


THE   TRANSITION 

Not  to  be  misled  by  j;his  text  it  is  necessary  to  remember 
that  Robert  de  Mont  was  not  an  eye  witness  of  these  things. 
He  wrote  about  the  year  1184,  or  forty  years  after  the  events 
which  he  describes.  Since  the  whole  tone  of  his  narrative  im- 
plies that  such  scenes  were  unknown  to  his  own  observation,  it 
it  safe  to  assume  that  the  cart  cult  had  ceased  to  exist  long  before 
1184.  It  therefore  could  have  enjoyed  but  a  very  brief  existence. 
Robert  du  Mont  clearly  compiled  his  account  on  second-hand 
materials,  and  he  is  so  unusually  kind  as  to  name  for  us  his 
main  source,  the  very  letter  of  Bishop  Hugh,  which  we  have 
already  studied  in  the  original.  This  letter,  as  has  been  seen, 
contained  nothing  to  imply  that  the  cart  cult  spread  to  "almost 
all  France  and  many  other  places."  There  is  consequently 
every  reason  to  believe  that  these  words  are  an  addition  —  and 
a  very  natural  one  —  made  by  Robert  du  Mont  himself,  to 
give  a  round  turn  to  his  sentence.  Besides,  this  writer  is  not 
above  the  charge  of  inaccuracy  and  carelessness  in  recording 
the  events  even  of  his  own  times. 

These  facts  justify  the  conclusion  that  Viollet-le-Duc  and 
other  historians  of  architecture  have  laid  too  much  stress  upon 
the  cart  cult  and  its  relation  to  the  building  activity  of  the  time. 
This  form  of  religious  hysteria  never  was  widely  extended  in 
the  lie  de  France;  it  died  out  entirely  a  very  few  years  after 
its  commencement  in  1144;  and  the  dragging  of  carts,  far  from 
being  inspired  by  interest  in  the  church  building,  was  merely 
a  form  of  religious  penitence,  practised  in  precisely  the  same 
spirit  as  other  ascetic  mortifications  of  the  flesh,  such  as,  for 
example,  flagellation. 

Nor  was  the  general  relationship  of  people  and  clergy  one 
of  cordiality  at  this  period.  It  is  always  dangerous  to  general- 
ize on  the  Middle  Ages ;  each  locality  had  its  own  local  peculi- 
arities which  caused  wide  divergencies  in  the  relationship  of 
classes.  Thus  in  some  few  places,  at  Chartres,  at  St.  Denis, 
and  elsewhere,  there  seems  to  have  been  accord  between  the 
people  and  the  clerks.  But  such  was  far  from  being  the  gen- 
eral case. 

Nothing  contributed  more  largely  to  bring  about  an  estrange- 
ment between  the  people  and  the  Church  than  the  rise  of  the 

160 


RISE   OF  THE   COMMUNES 

communes.  Almost  every  city  of  France  witnessed  in  the  XII 
century  a  protracted  struggle  on  the  part  of  the  bourgeois  to 
emancipate  themselves  from  the  feudal  jurisdiction  of  the  abbot 
or  bishop;  as  an  inevitable  result  there  grew  up  between  the  two 
classes  an  enmity  which  long  outlived  the  success  or  suppres- 
sion of  the  revolt. 

The  first  attempt  to  establish  a  commune  occurred  at  Le 
Mans  as  early  as  1069.  At  first  the  bishop  allied  himself  with 
the  bourgeois  against  the  authority  of  the  count,  but  he  soon 
afterwards  discovered  the  mistake  of  this  policy  and  promptly 
changed  sides.  Deprived  of  the  aid  of  the  Church,  the  com- 
mune was  quickly  suppi'essed.  The  contagion,  however,  had 
spread  to  Cambrai  (1076).  Here,  since  the  bishop  was  the  feudal 
lord  of  the  city,  an  open  war  ensued  between  him  and  the  bour- 
geoisie. As  at  Le  Mans,  the  Church  proved  stronger  than  the 
people,  and  in  the  end  the  commune  was  put  down.  On  the 
other  hand,  at  St.  Quentin,  where  the  claims  of  the  bourgeois 
interfered  not  with  the  Church,  but  only  with  the  local  baron, 
the  commune  was  successfully  established  after  a  brief  struggle 
(1080). 

Some  years  later  the  rich  city  of  Beauvais  rose  in  revolt. 
Unfortunately  the  details  of  this  struggle  are  not  clear.  How- 
ever, since  it  is  known  that  Bishop  Ansel  recognized  the  corpora- 
tion of  the  bourgeois  in  1099,  it  is  probable  that  the  commune 
was  established  rather  at  the  expense  of  the  chapter  of  St.  Pierre 
and  of  the  local  baron,  than  at  that  of  the  bishop.  There  is 
no  doubt  of  the  general  indignation  this  insurrection  excited 
in  the  bosom  of  the  Church.  Ive  of  Chartres  denounced  it  as 
a  "turbulent  conspiracy,"  and  affirmed  that  the  bishop  of  Beau- 
vais was  in  no  manner  obliged  to  observe  the  oath  he  had  sworn 
to  the  bourgeois,  since  such  compacts  are  null  and  void,  being 
contrary  to  the  canons  and  decisions  of  the  fathers.  Thus  from 
the  beginning  the  church  anathematized  the  communal  move- 
ment, in  the  name  of  tradition  and  of  the  canon  law.  "Com- 
mune, name  new,  name  detestable!"  cried  with  pious  horror  the 
abbot  Guibert  de  Nogent. 

In  fact,  the  privileges  of  the  Church  were  seriously  menaced 
by   the   development   of   civic   liberty,    which    she   accordingly 

161 


THE   TRANSITION 

gathered  all  her  powers  to  oppose.  However,  certain  prelates, 
surprised  by  the  explosion  of  popular  power  and  by  the  rapid- 
ity of  the  movement,  bowed  before  accomplished  facts,  and 
consented  to  bind  themselves  by  oath  to  maintain  the  victorious 
bourgeoisie.  The  bishop  of  Noyon,  Baudri,  asked  the  king  of 
France  to  confirm  the  charter  he  had  himself  granted  (1109), 
under  just  what  compulsion  is  not  known.  It  seems  probable 
that  the  citizens  of  Noyon  had  allied  themselves  with  the  local 
baron,  instead  of  treating  him,  as  had  the  citizens  of  Beauvais, 
as  their  chief  enemy.  To  such  a  degree  did  the  conditions 
vary  in  different  cities. 

In  1111  the  town  of  Laon  rose  against  its  bishop.  Isolated 
on  their  steep  rock  the  inhabitants  of  this  city  lived  amid  constant 
civil  war  and  class  hatred;  noble  held  bourgeois  for  ransom, 
bourgeois  robbed  and  pillaged  peasant.'  The  king  himself  was 
not  safe  in  this  strange  town.  Gaudri,  bishop  of  Laon, 
was  blessed  with  a  character  almost  as  pleasant  as  that  of  his 
people.  He  treated  his  townsmen  as  serfs,  thought  only  of 
war  and  hunting,  and  always  appeared  in  public  followed  by 
a  negro  slave  who  was  his  official  executioner.  To  dispose  of 
a  baron  who  annoyed  him  this  Christian  prelate  did  not  hesi- 
tate to  have  him  assassinated  in  a  church. 

Profiting  by  the  absence  of  Gaudri  in  England  the  bour- 
geois bought  from  the  clergy  and  nobles  the  privilege  of  form- 
ing a  corporation.  When  the  bishop  returned  and  learned  of 
this  transaction,  he  was  furious;  but  he  was  appeased  by  a 
large  sum  of  money,  and  even  swore  to  protect  the  commune. 
Louis  VI,  also  well  paid,  confirmed  the  charter  (1111). 

The  following  year  the  King  happened  to  come  to  Laon, 
and  Gaudri  planned  to  improve  the  opportunity  aft'orded  by 
his  presence  to  destroy  the  commune.  The  bourgeois  discov- 
ered the  plot,  and  offered  Louis  400  pounds  to  remain  faithful  to 

'  In  a  recent  monograph  in  the  Nouvelle  Revue  Historique  de  Droit  Franfais  et  Stranger, 
for  November-December,  1901,  entitled  "Documents  relatifs  aux  rapports  de  I'eveqne  et  de  la 
commune  de  Laon  an  moyen  age"  M.  Lucien  Broche  shows  that  the  bourgeois  of  Laon  always 
struggled  against  taking  the  oath  of  faith  and  homage  to  the  bishop.  This  ceremony  pricked 
their  pride  by  recalling  their  dependence  on  the  bishop,  their  lord.  Numeroiis  contests  had 
arisen  on  this  subject,  when  in  1239  the  commune  and  the  bishop  finally  submitted  the  question 
to  the  arbitration  of  the  archbishop  of  Reims. 

162 


COMMUNE   OF   LAON 

his  promise;  but  the  bishop  offered  him  700  to  break  it.  The 
last  bid  being  highest  the  commune  was  abohshed.  At  this, 
the  popular  indignation  not  unnaturally  ran  high.  The  King 
found  it  prudent  to  slip  out  of  the  city  before  day-break.  At  sun- 
rise bands  of  bourgeois  armed  with  swords  and  axes  rushed  upon 
the  episcopal  palace,  and  massacred  all  within.  A  serf  knocked 
out  the  brains  of  the  bishop  by  a  blow  of  his  ax.  Then  the 
tumult  extended,  the  houses  of  nobles  and  clergy  were  attacked, 
and  the  inmates  escaped  only  by  disguising  themselves  and 
taking  flight.  Fire  and  pillage  followed;  the  cathedral  church 
was  burned  to  the  ground. 

The  murder  of  a  bishop  could  not  be  left  unavenged.  The 
royal  army  accordingly  marched  against  the  revolted  city,  and 
took  it  by  storm.  Then  it  was  the  turn  of  the  nobles  and  clergy 
to  massacre  the  bourgeois.  Finally  the  peasants  of  the  neighbor- 
hood swarmed  into  the  ruined  town,  and  pillaged  the  deserted 
houses.  The  commune  was  wiped  out  in  blood  (1114).  Sixteen 
years  later,  however,  it  was  reestablished.  Political  circum- 
stances had  forced  the  King  and  the  Church  to  grant  municipal 
government  to  the  bourgeois  under  the  title  of  an  Institution  of 
Peace  (1128).  It  is  not  difficult  to  imagine  how  cordially  the 
bishop  of  Laon  and  his  good  bourgeois  must  have  loved  each 
other  after  all  this.' 

The  bourgeois  of  Amiens  rose  in  revolt  about  the  same 
time  (1113).  Their  commune  was  established  only  after  four 
years  of  bitter  warfare,  although  the  bishop  backed  the  towns- 
men against  the  count.  Louis  VI  at  last  turned  the  balance  in 
favor  of  the  bourgeois.  At  Corbie  (1120),  on  the  contrary, 
the  bourgeois  allied  themselves  with  the  count  and  thus  wrung 
a  charter  from  the  abbot.  At  St.  Riquier  before  1126  an  alliance 
of  the  same  powers  was  equally  successful.  To  shake  off  the 
yoke  of  their  bishop,  the  people  of  Soissons  seem  to  have  taken 
advantage  of  the  minority  of  their  count,  Renaud  III. 

'  Yet  the  people  none  the  less  seem  to  have  aided  the  reconstruction  of  the  cathedral,  by 
one  of  those  puzzling  reversals  of  popular  feeling  that  so  baffle  the  historian  of  the  Middle  Ages. 
"Excites  par  le  pieux  eveque,  tous  les  habitants  de  la  ville  et  un  grand  nombre  d'etrangers  vou- 
lurent  y  prendre  part.  Les  uns  allaient  extraire  les  pierres  dans  les  carrieres,  les  autres  les  trans- 
portaient  a  grand  peine  jusqu'au  sommet  de  la  montagne."  —  M.  de  Florival,  Etude  historique 
SU.T  le  Xllme  siecle." 

163 


THE   TRANSITION 

When  communes  had  been  once  estabHshed,  the  clergy 
complained  bitterly  of  the  consequences.  The  abbot  of  St. 
Riquier  called  the  King  to  his  aid  (1120).  His  bourgeois  dare 
tax  the  subjects  of  his  abbey!  They  hinder  the  abbot  from 
collecting  his  own  revenues,  they  draw  into  their  association 
the  peasants  of  the  neighboring  regions,  they  hold  their  meetings 
in  the  church,  and  ring  the  bells  for  their  own  purposes!  The 
bishop  of  Soissons  also  complained:  not  content  with  making 
a  propaganda  in  the  neighboring  country,  his  commune  appro- 
priated the  episcopal  buildings  for  its  town  meetings  and  even 
used  them  as  a  jail! 

Louis  \T,  the  eldest  son  of  the  Church,  could  not  but  inter- 
fere. But  it  was  in  vain  he  opposed  himself  to  the  movement. 
The  tide  was  rising  everywhere.  In  1130  it  was  the  turn  of 
Abbeville  to  revolt.  In  1139  the  great  city  of  Reims,  the  eccle- 
siastical capital  of  the  kingdom,  was  affected  by  the  contagion. 
The  archbishops,  powerful  feudal  lords,  were  little  disposed 
to  see  their  rights  encroached  upon.  Thanks,  however,  to  two 
exceptional  circumstances  —  a  prolonged  vacancy  of  the  metro- 
politan throne,  and  the  active  help  of  Louis  VII,  —  the  com- 
mune was  nevertheless  established.  Reims,  the  city  of  the 
coronation,  had  become  a  commune,  and  raised  its  power  in 
the  very  face  of  the  primate  of  all  Gaul!  The  universal  Church 
was  indignant  at  such  a  scandal.  St.  Bernard  denounced  the 
"insolence  of  the  people  of  Reims";  the  Papacy  launched  all 
its  thunders,  and  even  compelled  Louis  VII  to  use  force  against 
the  bourgeois.  The  commune  soon  disappeared  beneath  the 
<?ombined  strength  of  its  enemies. 

In  1146  Louis  VII  had  granted  a  charter  to  the  inhabitants 
of  Sens.  Three  years  later  he  revoked  it  on  the  petition  of  the 
abbot  of  St.-Pierre-le-Vif.  A  terrible  riot  immediately  broke 
out;  the  bourgeois  forced  the  doors  of  the  abbey,  killed  the 
abbot  and  his  nephew.  This  revolt  was  cruelly  suppressed. 
The  people  of  Vezelay  rivaled  in  violence  even  the  inhabitants 
of  Laon.  Before  thinking  of  a  commune,  they  had  massacred 
their  abbot  Artaud  (1106).  The  abbots  finally  succeeded  in 
suppressing  their  insurrections,  which  were  constantly  renewed, 
only  at  the  very  end  of  the  XII  century. 

164 


BOURGEOIS   AND   ECCLESIASTIC 

At  Orleans  the  uprising  of  1137  was  unsuccessful;  but  Poi- 
tiers, St.  Omer,  Lille,  Bruges,  and  Gand  obtained  their  charters 
peacefully.  Thus  in  the  long  run  the  struggle  of  the  communes 
was  a  gaining  one,  and  after  the  middle  of  the  XII  century, 
the  corporations  of  bourgeois  were  well  established  throughout 
the  land.  Louis  VI  (1108-37)  had  been  indifferent  and  vacillat- 
ing in  his  treatment  of  the  bourgeois;  but  Louis  VII  (1137-80) 
inclined  rather  to  the  popular  party,  and  at  last  Philippe-Auguste 
(1180-1223)  identified  his  cause  with  that  of  the  people.  Thus 
the  great  enemy  of  the  bourgeois  was  the  Church.  It  was 
against  the  desperate,  if  unavailing,  efforts  of  the  bishops,  the 
abbots,  and  the  chapters  that  the  communes  were  finally  estab- 
lished. The  enmity  between  bourgeois  and  clerk  thus  begun, 
long  outlived  the  settlement  of  the  question  of  communes.' 

The  very  existence  of  municipal  government  brought  this 
authority  into  constant  conflict  with  the  jurisdiction  of  the 
church.  The  records  of  the  XII  and  XIII  centuries  are  full 
of  accounts  of  broils  between  ecclesiastic  and  townsman  —  broils 
that  sometimes  took  the  form  of  street  riots,  sometimes  of  law 
suits,  more  often  of  both.  For  example,  in  1226  the  people 
of  the  commune  of  Newport,  near  Dunkirk,  were  in  conflict 
with  the  canons  of  Ste.  Valburge,  Furnes,  about  a  tax  on  fish. 
^Vhen  the  representatives  of  the  chapter  tried  to  collect  this 
impost,  the  people  attacked  them,  killed  two,  and  wounded  a 
third.  The  bishops  of  Cambrai,  Jean  III  and  Godefroi,  excom- 
municated the  commune  of  that  city  and  suppressed  it  by  force 
(1206-09).  The  bourgeois  of  Soissons  attacked  the  abbey  of 
St.  Medard  in  1185;  the  clergy  of  Sens  anathematized  five  times 
the  chief  citizens  (1213).  The  bourgeoisie  of  Beauvais  de- 
stroyed the  house  of  a  servant  of  the  bishop  (1119),  and  were 
in  consequence  summoned  to  appear  before  the  judges.  The 
bishop  of  Tournai  engaged  in  civil  war  with  his  bourgeois 
(1190-96);  the  chapter  of  Laon  excommunicated  the  commune 
(1213).  At  St.  Omer  the  bourgeois  made  such  head  against 
their  abbot  that  the  pope  was  obliged  to  excommunicate  the  citi- 
zens and  place  the  entire  city  under  the  interdict;  but  the 
nobles  sustained  the  populace  and  helped  them  to  pillage  the 

1  Lavisse,  Histoire  de  France,  W,  p.  347  seq. 
165 


THE   TRANSITION 

abbey.  On  Easter  Sunday,  1194,  tlie  houses  of  the  canons 
of  Rouen  wei"e  sacked  by  the  bourgeois,  and  all  the  household 
chattels  carried  off.  In  1207  another  riot  took  place  in  the 
same  city,  which  was  in  consequence  put  under  the  interdict. 
The  king,  Philippe-Auguste,  was  obliged  to  interfere  to  restore 
order.' 

In  1174  the  support  of  Louis  VII  had  enabled  the  peasants 
of  the  Laonnais  to  organize  in  a  confederation  of  seventeen 
villages.  Three  years  later,  however,  the  bishop  of  Laon, 
Roger  de  Rozoi,  aided  by  the  local  nobility,  took  his  revenge; 
he  trapped  the  serfs  near  Comporte  and  made  a  horrible 
butchery.  In  1185  Philippe-Auguste,  who  was  at  odds  with 
this  bishop,  appointed  himself  mediator.  He  limited  the  taxes 
that  could  be  collected  by  the  bishop,  and  even  reestablished 
the  commune.  In  1190,  however,  when  his  policy  demanded 
a  reconciliation  with  the  clergy  before  starting  on  the  crusade, 
the  king  suppressed  the  confederation.  In  the  early  XIII 
century,  the  seventeen  villages,  still  cruelly  oppressed,  tried  to 
emigrate  en  masse  to  the  territory  of  the  neighboring  Sire  of 
Coucy,  but  the  effort  was  unsuccessful.  Two  years  later,  1206, 
when  a  quarrel  broke  out  between  the  bishop  and  the  chapter 
of  Laon,  the  villages  induced  the  chapter  to  champion  their 
cause.  The  case  was  brought  before  the  tribunal  of  the  metro- 
politan chapter  of  Reims,  where  the  rights  of  the  villages  were 
sustained.  This  decision  so  humiliated  the  good  bishop  of 
Laon  that  it  is  said  to  have  caused  his  death,  which  occurred 
soon  after. 

At  Noyon  in  1222  a  servant  of  the  canons,  named  Jean  Buche, 
detected  in  gross  immorality,  was  arrested  in  the  cemetery  of 
the  cathedral  by  order  of  the  municipal  magistrates.  The 
canons  demanded  that  the  culprit  should  be  given  over  to  their 
jurisdiction.  The  bishop,  chosen  as  arbitrator,  decided  in  favor 
of  the  canons,  but  the  bourgeois  refused  to  obey  this  decision, 
and  a  riot  broke  out.  The  official,  who  happened  to  be  stand- 
ing at  the  door  of  the  cathedral,  was  maltreated  by  the  mob, 
and  his  garments  torn.  ^Miile  the  canons  were  saying  mass, 
the  crowd  broke  the  doors,  burst  into  the  church,  and  beat  the 

'  La\'isse,  op  cit.  III>,  405. 
166 


UNPOPULAEITY   OF   THE   CLERGY 

dean  of  the  chapter.  At  nightfall  the  cathedral  doors  were 
pelted  with  stones  and  the  watchmen  insulted  and  threatened. 
The  canons  dared  not  go  out  of  their  houses  into  the  streets. 
The  affair  was  finally  settled  only  by  intervention  of  the  king.' 

In  1248  the  monks  of  St.  Ouen,  Rouen,  wishing  to  rebuild 
their  abbey,  had  to  have  it  guarded  during  the  night  by  six 
"champions,"  lest  the  bourgeois  should  destroy  in  the  evening 
what  the  builders  had  erected  during  the  day. 

In  1235  at  Reims  during  the  construction  of  the  cathedral, 
a  broil  broke  out  between  the  people  and  the  ecclesiastics.  The 
stones  intended  for  the  works  on  the  cathedral  were  diverted 
to  strange  uses;  as  the  workmen  brought  them  to  the  town, 
the  people  seized  them  to  construct  barricades  and  engines  of 
war.  The  archbishop  Henri  de  Braisne  was  besieged  in  his 
castle;  the  canons  were  obliged  to  flee  from  the  city  and  take 
refuge  at  Cormicy  and  Courville.  Their  exile  lasted  two  years 
and  two  months,  nor  during  that  time  did  they  dare  to  show 
themselves  in  Reims. ^ 

Nothing  would  be  easier  than  to  multiply  indefinitely  sim- 
ilar instances.  The  annals  of  the  XII  and  XIII  centuries 
relate  an  endless  number  of  such  broils.  These  contemporary 
records  make  it  perfectly  clear  that  the  supposed  cordial  co- 
operation of  Church  and  people  in  the  XII  and  XIII  centuries, 
the  brotherly  love  of  those  two  powers,  walking  hand  in  hand, 
as  it  were,  across  the  centuries  —  this  ideal  picture  so  charmingly 
painted  by  Viollet-le-Duc  and  other  writers  —  is  based  on 
imagination,  not  on  historical  fact.  The  undoubted  religious 
enthusiasm  of  the  people  should  not  mislead  us  here.  This 
force  so  strikingly  witnessed  in  the  cart  cult,  in  the  crusades,  in 
the  belief  of  miracles,  was  undoubtedly  the  means  by  which 
more  than  by  any  other  the  power  of  the  Church  was  sustained. 
The  people  accepted  and  believed  in  religion  most  implicitly, 
even  at  the  moment  when  the  ecclesiastics  were  hated  most 
bitterly.  The  same  populace  which  murdered,  robbed,  and 
maltreated  the  priests  recoiled  in  horror  the  moment  the  inter- 
dict deprived  them  of  the  mass  and  threatened  their  souls  with 

1  Lefevre-Pontalis,  Hist,  de  la  Cath.  de  Ncyon,  p.  34. 
''  Demaison,  Album  de  la  Cath.  de  Reims,  p.  6. 

167 


THE   TRANSITION 

everlasting  torment.  The  naivete  of  this  psychology,  almost 
incomprehensible  to  the  modern  mind,  is  nevertheless  one  of 
the  basic  facts  of  medieval  history. 

That  an  individual,  therefore,  should  make  the  safety  of 
his  soul  the  chief  end  of  his  life,  and  should  be  willing  and  anxious 
to  secure  this  eternal  salvation  by  good  works,  —  by  submitting 
to  flagellation,  by  humiliating  himself  to  drag  carts,  even  by 
contributing  (especially  on  his  death-bed)  to  the  support  of 
holy  Mother  Church  —  was  by  no  means  incompatible  with 
the  same  individual  cherishing  the  liveliest  hatred  of  the  monks 
and  priests.  That  this  hatred,  or  at  least  indifference,  should 
be  extended  to  the  great  monuments  of  ecclesiastical  power  and 
glory,  followed  as  a  logical  corollary.  In  all  the  hundreds  of 
accounts  of  the  building  of  abbeys  and  cathedrals  that  have 
come  down  to  us  the  formula  almost  never  varies:  such  and 
such  an  abbot  or  bishop  or  chapter  built  (i.e.,  caused  to  be  built) 
such  and  such  a  portion  of  the  church  in  such  and  such  a  year. 
The  cathedral  is  as  distinctly  the  emblem  of  the  ecclesiastical 
power  as  the  castle  is  the  emblem  of  feudal  might;  one,  as  little 
as  the  other,  was  the  work  of  the  people. 

To  understand  the  cathedral,  therefore,  it  is  necessary  to 
understand  what  was  this  ecclesiastical  power  in  the  XII  and 
XIII  centuries,  this  force  that  ruled  the  civilized  world,  that 
was  supported  and  strengthened  by  the  very  people  who  hated 
it  most,  that  made  and  unmade  kings,  that  decreed  wars  and 
crusades,  that  dictated  even  the  smallest  details  in  the  life  of 
the  individual.  For  it  is  no  coincidence  that  the  reign  of  Inno- 
cent III,  the  culmination  of  ecclesiastical  power,  is  exactly 
contemporary  with  the  culmination  of  Gothic,  architecture. 

France  was  the  eldest  child  of  the  Church,  and  ever  since 
the  days  of  Pipin  and  Clovis  the  French  king  had  been  known 
as  the  ally  of  Rome.  Furthermore,  in  no  country  of  Europe 
had  the  Reform  of  the  Church  been  so  thoroughly  carried  out 
or  so  enthusiastically  adopted  as  in  XII  century  France. 
Louis  VI,  "the  king  of  clerks,"  modeled  his  whole  policy  with 
a  view  rather  to  the  interests  of  the  Church  than  to  those  of  the 
monarchy;  even  Philippe-Auguste,  that  most  unscrupulous  of 
politicians,  when  it  came  to  a  rupture  with  the  See  of  St.  Peter, 

168 


RELIGIOUS   FERVOR 

hesitated  and  compromised.  Thus  the  political  power  of  the 
Church  in  France  in  the  XII  and  XIII  centuries  was  great  as 
it  has  never  been  elsewhere,  or  at  any  other  time. 

The  Church  derived  power  from  the  faith  —  or  fanaticism 
—  of  its  very  enemies,  the  lower  classes.  We  have  already 
seen  many  striking  manifestations  of  the  intensity  of  the  popular 
religion;  but  the  extraordinary  scenes  which  accompanied  the 
First  Crusade  —  essentially  a  French  expedition,  —  scenes  fresh 
in  every  memory,  are  perhaps  the  most  striking  manifestation 
of  all.  The  Second  Crusade  of  1147  was  scarcely  less  the  work 
of  a  French  king,  Louis  VII,  and  of  a  French  monk,  St.  Ber- 
nard. On  the  Third  Crusade,  1189,  another  French  king, 
Philippe-Auguste,  was  among  the  leaders.  The  Fourth  Cru- 
sade of  1202,  a  spectacle  little  edifying  it  is  true,  was  primarily 
a  plundering  excursion  of  the  French  nobility. 

Thus  all  these  extraordinary  campaigns  that  sent  the  flower 
of  Europe  to  perish  in  the  Holy  Land,  these  campaigns  so  fool- 
hardy, yet  so  sublime,  so  ideal  in  conception,  so  worldly  in  prac- 
tice, in  which  were  summed  up  what  was  best  as  well  as  what 
was  worst  in  the  XII  century,  were  all  primarily  French,  all 
instigated  and  directed  by  Frenchmen.  French,  too,  was  the 
far  from  heroic  Albigensian  Crusade  —  or  massacre  —  of  1209- 
24;  and  of  French  origin  was  the  Children's  Crusade  of  1212, 
that  most  pathetic  of  all  historical  pages.  These  people  of  the 
XII  century  seem  to  have  lived  in  a  dream-world  of  imagina- 
tion —  a  world  peopled  with  phantoms  now  of  the  most  inspir- 
ing beauty,  now  of  the  most  repulsive  ugliness.  The  whole 
universe  was  seen  through  a  haze  of  mysticism  which  trans- 
formed mundane  objects  and  seemed  at  times  to  clothe  even  the 
most  commonplace  facts  of  life  with  a  supernatural  radiance. 
Miracles  were  reported  from  one  end  of  the  land  to  the  other 
in  such  vast  numbers  that  the  chronicles  of  the  period  are  often 
little  more  than  unending  repetitions  of  miraculous  appari- 
tions, cures,  and  events.  The  passion  for  relics  was  carried 
to  incredible  lengths.  In  fact,  the  whole  nation  was  carried 
away  by  a  wave  of  piety  and  religious  enthusiasm  such  as  the 
world  had  never  seen  before,  nor  will  ever  know  again. 

This  piety  could   only  result  in  increasing  enormously  the 

169 


THE   TRANSITION 

wealth  of  the  clergy.  A  jeopardized  soul  could  always  be 
saved,  even  at  the  eleventh  hour,  by  death-bed  donations  to 
the  universal  Church,  —  provided  always  the  donations  were 
sufficiently  large.  Thus  gifts  were  showered  upon  the  bishop- 
rics and  abbeys,  not  for  any  love  of  the  priests,  nor  from  any 
pride  in  the  local  cathedral,  but  only  in  the  hope  that  the  years 
of  Purgatory  might  by  this  means  be  lessened. 

This  wealth  was,  as  a  rule,  well  husbanded  by  bishop  and 
abbot,  and  handed  on  to  the  successor  increased  rather  than 
diminished.  Since  the  reform  of  the  Church,  the  personnel 
of  the  higher  clergy,  especially  in  the  north  of  France,  had  been 
on  the  whole  extraordinarily  high.  The  ecclesiastical  dignitary 
was  usually  fairly  honest,  thrifty,  and  devoted  heart  and  soul 
to  the  interests  of  Rome  and  of  his  own  diocese  or  abbey.  With 
all  his  vastly  increased  revenues,  he  had,  moreover,  no  such 
expenses  or  feudal  obligations  as  those  which  confronted  the 
baron.  He  must  still,  it  is  true,  obey  the  king's  summons  to 
war  and  furnish  his  quota  of  troops;  but  in  the  reign  of 
Philippe-Auguste  public  opinion  became  strong  against  this 
usage,  and  the  bishops  of  the  He  de  France  seem  to  have  been 
more  and  more  successful  in  avoiding  military  service. 

But  notwithstanding  the  immense  wealth  of  the  bishops 
and  chapters,  the  keen  rivalry  that  existed  between  neighboring 
dioceses  —  each  trying  to  out-do  the  other  in  the  splendor  and 
magnificence  of  its  cathedral  —  led  to  the  erection  of  edifices 
far  more  costly  than  the  resources  of  even  the  medieval  Church 
could  bear.  The  cost  of  a  building  like  Amiens  would  fairly 
stagger  even  XX  century  prosperity;  and,  when  the  vast  number 
of  ecclesiastical  edifices  erected  in  the  He  de  France  between  the 
middle  of  the  XII  and  the  middle  of  the  XIII  century  is  con- 
sidered, it  is  not  surprising  that  such  lavish  building  speedily 
reduced  the  French  Church  to  a  condition  of  financial  ruin. 
In  almost  every  case  the  revenues  proved  insufficient  to  carry 
the  cathedral  to  completion.  It  consequently  became  necessary 
to  raise  funds  from  among  the  people.  That  the  faithful  con- 
tributed to  this  cause,  not  at  all  out  of  enthusiasm  for  archi- 
tecture, is  shown  by  the  methods  employed  to  wring  money 
from  them.     Bull  after  bull  was  obtained  from  the  pope  grant- 

170 


THE   HOUSE   OF   GOD 

ing  indulgences  to  those  who  would  visit  on  such  and  such  a 
day  a  certain  church  and  contribute  towards  the  expenses  of 
construction.  When  this  means  failed,  the  relics  possessed 
by  the  cathedral  were  peddled  through  the  country.  Such 
expeditions  visited  not  only  the  local  diocese,  but  regularly 
trespassed  upon  the  domains  of  neighboring  bishops,  who  not 
seldom  strenuously  objected  to  having  their  sheep  fleeced  by  a 
stranger.  To  obtain  funds  for  the  cathedral  of  Laon  relics 
were  carried  even  so  far  as  into  England.  Wherever  these 
relics  passed,  miracles  were  performed,  indulgences  granted, 
and  the  popular  hysteria  was  worked  up  to  the  fever  pitch.  It 
has  already  been  remarked  how  passionately  the  Middle  Ages 
loved  relics.  There  was  no  surer  short-cut  through  Purgatory 
than  to  contribute  towards  a  church  in  which  the  thigh-bone 
of  St.  Firmin  might  be  fittingly  lodged.  Furthermore,  the  relics 
were  ordinarily  carried  so  far  from  home  that  the  people  had  no 
cause  for  particular  hatred  against  the  bishop  or  chapter  whose 
cathedral  was  building.  Even  rival  bishops  would  occasionally 
come  to  one  another's  aid;  in  1131  the  pope  practically  com- 
manded the  archbishops  of  Rouen  and  Sens  to  aid  the  bishop  of 
Noyon  whose  cathedral  had  just  been  burned. 

Back  of  the  pride  of  the  bishop  and  chapter  in  the  cathedral, 
or  of  the  abbot  in  the  abbey,  there  was,  moreover,  always  the 
feeling  that  the  church  was  the  house  of  God,  and  a  work 
especially  pleasing  in  His  eyes.  It  was  sacrilege  to  harm  the 
edifice.  In  the  bitterest  broils  of  bourgeois  and  ecclesiastic,  the 
church  building  was  rarely  harmed,  and  whoever  raised  hand 
against  it  felt  that  he  stood  in  immediate  danger  of  Hell  fire. 
In  the  most  merciless  of  wars  the  churches  were  generally  spared, 
or  if  by  necessity  one  was  destroyed  the  king  ordinarily  under- 
took to  rebuild  it  from  his  own  resources  more  sumptuously  than 
before.  The  sanctity  of  the  house  of  God  was  not  merely  a 
convenient  doctrine  of  the  Church  to  protect  its  own  property; 
it  was  a  fundamental  part  of  medieval  religion  and  faith.  The 
church  building,  however  much  it  might  be  the  symbol  of 
the  power  of  the  chapter  or  bishop,  however  much  it  might 
be  the  work  of  the  worldly  vanity  of  the  abbot,  nevertheless 
possessed  a  sacred  and  inviolate  character.     Just  as  the  religion 

171 


THE   TRANSITION 

of  the  people  was  the  funda^mental  fact  on  which  rested  the  power 
of  the  prelate  against  whom  they  struggled  so  desperately,  so 
this  same  religion  of  the  people  was  the  fundamental  fact  which 
made  possible  the  cathedral,  the  symbol  of  his  glory.  In  this 
limited  sense  Gothic  architecture  may  be  said  to  be  a  popular 
art. 

The  inner  history  of  the  Church  during  the  XII  century  is 
full  of  meaning  for  the  history  of  architecture.  The  Grego- 
rian reform  of  the  XI  century  had  been  only  partially  successful. 
The  monarchy  had  still  retained  practically  unimpaired  its 
rights  of  investiture,  against  which  the  Cluniac  movement 
had  been  chiefly  directed ;  and  although  the  Capetian  monarchs 
subsequently  renounced  those  forms  of  investiture  which  the 
church  held  illegal,  it  was  of  their  own  good-will,  and  not  under 
compulsion.  The  purification  of  the  clergy  had  also  met  with 
but  partial  success.  The  order  of  Cluny,  it  is  true,  had  been 
established  in  several  monasteries  and  chapters,  and  the  per- 
sonnel of  the  higher  clergy,  especially  of  the  bishops,  had  been 
improved.  But  the  great  mass  of  the  clergy  remained  sunk  in 
simony  and  corruption,  married  and  living  rather  as  feudal 
lords  than  as  servants  of  the  Church. 

The  reform  of  the  XII  century,  while  a  supplement  to  the 
Gregorian  movement,  was  in  reality  distinct  from  it.  Cluny 
had  already  fallen  from  the  heights  of  the  XI  century;  success 
had  brought  wealth,  and  wealth  corruption.  The  order  had 
thus  become  a  prey  to  the  very  evils  it  had  been  called  into 
existence  to  combat,  and  this  decadence  increased  from  year 
to  year,  until  finally  in  the  XIII  century  the  order  sank  into 
ignominy. 

Hence  as  a  living  satire  on  Cluny  was  founded  the  monastery 
of  Citeaux.  St.  Bernard  (1100-53),  abbot  of  Clairvaux,  became 
the  central  figure,  the  real  founder  of  this  new  Cistercian  order, 
upon  whose  shoulders  fell  the  mantle  of  ideal  asceticism  that 
was  so  rapidly  slipping  from  the  grasp  of  Cluny.  Clairvaux 
became  henceforward  the  model  abbey.  Since  the  austere 
Cistercian  rule  demanded  that  the  monk  should  come  in  con- 
tact as  little  as  possible  with  the  outside  world,  the  abbeys  of 
this  order  were  preferably  built  far  from  cities,  in  places  diflS- 

172 


THE   CISTERCIANS 

cult  of  access.  Everything  of  the  outside  world  was  feared; 
books,  literature,  and  science  were  proscribed.  The  Cistercian 
monk  guilty  of  having  composed  verses  was  heavily  punished. 
From  the  Cistercian  church  was  banished  pitilessly  all  that 
charmed  the  eyes,  all  that  could  distract  the  soul  from  contem- 
plation and  prayer.  Thus  the  walls  were  bare;  no  ornate 
pavements,  no  mosaics,  no  colored  glass  windows,  no  mural 
paintings,  no  sculptures,  even  no  stone  towers  were  allowed. 

Such  a  severe  rule  demanded  radical  changes  in  the  sumptu- 
ous type  of  ecclesiastical  edifice  that  had  been  developed  by 
the  old  Benedictine  and  Cluniac  orders.  The  Cistercian  church 
beside  its  general  plainness  and  poverty  of  ornament  came  to 
be  characterized  by  a  peculiar  plan  and  certain  stereotyped 
dispositions,  which  make  it  possible  to  recognize  at  a  glance  a 
church  belonging  to  this  order.  There  was  ordinarily  only  a 
single  aisle;  the  transept  was  very  much  developed  and  sup- 
plied with  square  eastern  chapels,  often  as  many  as  four  or  six 
in  number.  Square  also  (with  a  very  few  exceptions)  was  the 
east  end.  Over  the  crossing  rose  a  wooden  tower.  Externally, 
as  internally,  everything  was  as  bare  and  simple  as  possible; 
there  was  no  carving,  no  sculpture;  even  flying  buttresses  were 
seldom  used. 

Such  an  austere  edifice,  it  is  evident,  offered  few  opportu- 
nities for  elaborate  architectural  adornment.  While  the  Cis- 
tercians adopted  the  improvements  discovered  elsewhere  in 
the  construction  of  the  skeleton  structure  and  in  the  use  of  the 
rib  vault,  they  accounted  the  art  of  architecture  in  general  a 
vanity,  to  be  in  consequence  avoided.  Clairvaux  in  this  was 
the  direct  antithesis  of  Cluny.  The  Cluniac  churches,  too, 
had  had  their  special  characteristics,  the  choir  had  been  flanked 
by  two  eastern  towers,  and  between  the  two  western  towers 
an  interior  narthex  had  been  placed,  —  but  the  principal 
characteristic  which  had  invariably  distinguished  the  Cluniac 
abbeys  had  been  the  wealth  and  richness  of  their  architectural 
adornment.  The  rise  of  Clairvaux  and  the  fall  of  Cluny  was 
consequently  full  of  portentous  meaning  for  architectural  devel- 
opment. The  torch  of  progress  passed  from  the  monks  to  the 
chapters;  from  the  regular  to  the  secular  clergy.     And  this  all- 

173 


THE   TRANSITION 

important  change  took  p[ace  precisely  at  the  opening  of  the 
second  phase  of  the  transition. 

The  construction  of  St.  Denis  marks  at  once  the  highest 
development  and  the  end  of  the  monastic  power  over  Gothic 
architecture.  At  this  moment  (1144)  the  ecclesiastical  reform 
was  at  its  height;  the  old  Benedictine  monasticism  was  being 
transformed  by  Cistercian  asceticism;  St.  Bernard  and  the 
apostles  of  austerity  were  on  the  point  of  disengaging  the  reg- 
ular clergy  from  their  old  paths  to  launch  them  on  a  search 
after  new  ideals.  But  Suger,  the  last  of  the  great  Benedictine 
monks,  was  still  at  the  height  of  his  power,  —  Suger  the  ad- 
mirable administrator,  the  model  regent,  the  antithesis  of  the 
new  spirit,  the  clerk  among  whose  writings  are  found  only 
works  of  administration  and  history,  but  not  a  sermon,  not  a 
treatise  on  morals,  not  even  a  theological  discourse!  A  lover 
of  art,  a  passionate  collector  of  jewels  and  precious  stones,  this 
abbot  appreciated  beauty  to  the  full  and  adorned  his  church 
with  all  that  pleased  and  charmed  the  imagination  or  the  senses. 
In  the  times  of  St.  Bernard,  Bruno,  Robert  of  Arbuissel,  and 
Stephen  of  Muret,  those  austere  souls  who  hated  the  flesh  and 
despised  the  material,  who  sought  the  savage  wilds  and  cursed 
civilization,  Suger  stood  the  humanist,  the  courtier,  the  diplo- 
mat, the  lover  of  the  beautiful.  But  he  was  the  last  of  the  old 
Benedictine  school.  From  his  time  the  ideals  of  Clairvaux 
and  of  St.  Bernard  dominated  French  monasticism;  the  reg- 
ular clergy  scorned  the  esthetic,  and  were  indifferent  to  the  art 
of  architecture.  Not  that  the  Benedictine  and  Cluniac  orders 
ceased  to  exist,  or  even  to  build  extensively.  But  the  best  blood 
was  turned  to  the  new  reforming  orders.  Theirs  was  now  the 
wealth,  the  power  given  by  public  approbation;  the  old  orders 
lost  the  vigor  and  the  popularity  necessary  for  great  architec- 
tural attainment.  Their  churches  merely  reproduced  the  great 
improvements  discovered  in  the  cathedrals. 

Even  in  the  XIII  century,  when  the  Cistercian  order  trod 
the  same  road  of  decline  that  seemed  to  be  the  inevitable  des- 
tiny of  all  the  reforming  bodies  of  the  Middle  Ages,  the  tradi- 
tion of  a  simple  church  seems  to  have  been  preserved.  The 
monks  yielded  to  every  other  excess,  were  conquered  by  every 

174 


THE   CARTHUSIANS 

other  temptation.  But  where  it  was  held  a  sin  to  construct 
a  sumptuous  edifice,  the  money  might  well  be  saved  for  more 
sensuous  enjoyments. 

The  Cistercians,  while  the  most  important,  were  far  from 
being  the  only  new  order  to  lead  the  reaction  against  Cluny. 
Bruno  (1030-1101),  a  German  monk  who  had  lived  long  at 
Reims  and  had  there  imbibed  the  French  zeal  for  reform,  founded 
the  Carthusian  Order  as  early  as  1084.  His  ideals  were  sim- 
ilar to  those  of  St.  Bernard;  the  cradle  of  the  new  order  was 
placed  in  the  wild  solitudes  of  the  Alps.  The  rule  demanded 
the  most  rigorous  asceticism:  almost  perpetual  silence,  poverty, 
garments  of  horse-hair,  food  of  bread  and  milk,  and  daily  labor. 
Although  the  Carthusian  abbey  always  included  a  cloister,  the 
monks  did  not  live,  as  did  the  other  orders,  in  a  common  dor- 
mitory. Each  had  his  own  individual  cell  and  in  this  cell  he 
worked,  slept,  and  ate  in  solitude.  This  order,  like  the  Cis- 
tercians, frowned  upon  elaborate  church  buildings,  although 
at  a  later  epoch,  especially  in  Italy,  corruption  assailed  also 
these  monks,  and  the  monasteries  of  Carthusians  came  to 
be  erected  with  a  splendor  which  Cluny  itself  could  not 
rival.' 

Many  other  orders,  founded  for  the  most  part  in  the  XI 
century,  rose  to  prominence  with  the  high  tide  of  reform  in  the 
middle  of  the  XII  century.  Such  orders  came  into  being  at 
St.  Martin  of  Pontoise  (1069),  Grandmont  (1073),  Molesme 
(1075),  Fontevrault  (1096),  Tiron  (1112),  and  Paraclet  (1131). 
Enjoying  greater  or  less  popularity,  these  rules  all  alike  at  first 
demanded  increased  austerity.  Thus  their  ideals  tended  to 
turn  the  monk  from  the  thought  of  the  material  adornment  of 
the  house  of  God. 

In  the  XIII  century  a  new  class  of  orders  sprang  up,  even 
more  powei'ful  in  diverting  the  monastic  world  from  thoughts 
of  architecture.  The  mendicant  or  preaching  friars  originated 
in  a  reaction  against  the  gradually  declining  orders  of  the  XII 
century,  as  these  orders  themselves  had  been  a  reaction  against 
Cluny,  and  as  Cluny  had  been  a  reaction  against  the  rule  of  St. 
Benedict.     Not  only  individual  but  collective  poverty  was  im- 

1  e.  g.,  the  famous  Certosa  of  Pavia. 
175 


THE    TRANSITION 

posed  upon  the  mendicant  brothers,  who  must  live  by  begging 
charity.  The  Dominicans,  founded  by  St.  Dominic  (1^216), 
were  allowed  to  have  monasteries;  the  Franciscans,  however, 
established  l"210-'-23  by  St.  Francis  of  Assissi,  possessed  no  fixed 
home  or  abiding  place.  In  spite  of  the  rule,  however,  in  the 
end  the  inevitable  happened;  the  beggars  became  wealthy 
landed  proprietors.  They  obtained  from  the  pope  the  right 
of  confession,  and  thus  even  entered  into  serious  rivalry  with 
the  regular  clergy. 

One  of  the  most  striking  ecclesiastical  events  of  the  XII 
centurv  was  the  rise  of  the  militarv  orders.  These  orders,  which 
were  characteristic  manifestations  of  the  religious  spirit  of  the 
period,  were  organized  primarily  to  aid  in  the  conquest  and 
protection  of  the  Holy  Land,  being  thus  essentially  part  of  the 
crusading  movement.  The  Hospitalers,  or  Knights  of  St.  John, 
were  founded  in  1099;  the  Templars,  founded  in  1119,  num- 
bered only  nine  members  until  ll'-28,  when  St.  Bernard  estab- 
lished the  popularity  of  the  order.  These  Templars  were  in 
reality  warrior-monks;  they  were  submitted  to  the  rules  of 
poverty,  chastity,  and  obedience,  but  their  ranks  were  recruited 
from  the  noble  classes,  and  the  order  was  created  especially 
with  a  view  to  military  service.  During  the  XII  century  only 
nobles  were  admitted,  except  the  priests  who  served  as  chap- 
lains; but  in  the  XIII  century  non-nobles  commenced  to  be- 
come members.  The  order  acquired  enormous  power,  and 
was  finally  suppressed  by  Philippe-le-Bel. 

The  Order  of  the  Temple  is  especially  interesting  from  an 
architectural  standpoint  owing  to  the  circumstance  that  the 
members  considered  themselves  guardians  of  the  temple  at 
Jerusalem,  which  they  naively  believed  to  be  the  very  construc- 
tion of  Solomon.  Consequently  they  constructed  their  chapels 
in  imitation  of  this  edifice,  on  a  round  or  polygonal  plan.^  The 
chapels  of  the  Templars  in  France  are  thus  remarkable  as  the 
only  circular  churches  erected  in  that  country  in  the  transitional 
and  Gothic  periods.  A  capital  example,  full  of  interest,  is 
preserved  at  Laon;  it  is  to  be  regretted  that  among  all  the  great 

•  However,  in  the  smaller  houses  —  for  example,  at  Grand^Selve  and  Frenaux  (Oise)  — 
the  chapels  were  of  rectangular  plan. 

176 


RULE   OF  ST.   AUGUSTINE 

establishments  of  the  Templars  in  France,  this  alone  has  come 
down  to  our  days  uninjured. 

The  reform  movement  of  the  XII  century  spread  from  the 
regular  to  the  secular  Church  largely  through  the  introduc- 
tion of  the  rule  of  St.  Augustine.  The  reformers,  led  by  the 
pope,  were  able  to  reach  the  dissolute  canons  and  bishops  only 
by  means  of  regularization.  Accordingly  the  chapters  were 
submitted  to  this  rule,  which  was  inspired  by  the  new  monastic 
spirit,  but  compatible  with  the  necessities  of  the  pastoral  office. 
Ive  of  Chartres  had  applied  the  idea  as  early  as  1078  in  the  church 
of  St.  Quentin  of  Beauvais,  and  in  the  XII  century  the  new  order 
attained  the  greatest  success.  Nobles  wishing  to  make  a  pious 
donation,  instead  of  building  abbeys,  founded  collegiate  churches, 
the  canons  being  especially  charged  to  pray  for  the  founders 
and  their  families.  The  vogue  of  these  establishments  became 
so  great  as  to  excite  the  jealousy  of  the  regular  monks.  They 
believed  it  necessary  to  remind  the  world  that  after  all  the  mo- 
nastic life  was  the  ideal  religious  condition.  A  polemic  ensued, 
canon  and  monk  vaunted  the  excellence  of  their  particular 
calling.  But  the  popularity  of  the  canons  regular  continued  to 
grow,  and  new  orders  came  into  being  at  Premontre  and  St. 
Victor  (1113).  In  fact,  it  is  not  too  much  to  say  that  the 
chapters  became  the  richest  and  most  powerful  members 
of  the  Church  hierarchy  in  the  XIII  century.  Much  more 
than  the  bishops,  the  chapters  were  responsible  for  the  build- 
ing of  the  great  cathedrals,  which  were  often  executed  prin- 
cipally at  their  initiative  and  expense.  The  collegiate  church 
of  St.  Quentin  in  size  and  splendor  ranks  with  the  most  im- 
portant abbeys  and  cathedrals. 

Notwithstanding  its  subsequent  popularity,  the  rule  of 
St.  Augustine  was  not  established  in  the  chapters  without 
a  struggle.  It  was  one  thing  to  found  colleges  of  reforming 
canons,  it  was  another  to  oust  the  established  simoniacal 
chapters  of  the  cathedrals,  and  substitute  for  them  priests 
of  the  new  order.  The  Church,  however,  set  courageously 
about  the  task.  The  strife  was  long  and  severe,  and  often 
degenerated  into  riots,  physical  violence,  and  murder,  but  in 
the   end   the  party  of  the   reform  gained   the   upper   hand    in 

177 


THE   TRANSITION 

almost  every  instance,  for  it  was  supported  by  the  religious  sen- 
timent of  the  age. 

The  chapters  reformed,  the  reform  of  the  episcopacy  followed 
as  a  matter  of  course,  for  at  this  epoch  —  although  the  king  and 
the  pope  retained  rights  in  the  elections  and  in  rare  cases  inter- 
fered, —  the  choice  of  bishop  lay  for  all  practical  purposes  with 
the  canons.  Whenever  a  bishop  showed  himself  hostile  to  the 
work  of  reform,  moreover,  he  was  promptly  held  in  check  by 
the  pope,  who  in  this  work  was  the  natural  ally  of  the  reformed 
chapters.  Hence  the  power  of  the  bishops  came  to  be  dimin- 
ished; they  found  their  authority  usurped  by  the  chapter,  which 
was  becoming  by  rapid  strides  the  chief  ecclesiastical  power  in 
the  diocese. 

Thus  by  the  end  of  the  XII  century  the  work  of  reform  had 
been  thoroughly  accomplished.  While  it  would  certainly  be 
a  mistake  to  represent  conditions  in  the  French  Church  c.  1200 
as  ideal  —  discords,  scandals,  strifes,  riots,  even  acts  of  physical 
violence  were  of  almost  daily  occurrence  among  its  hostile  mem- 
bers —  still  the  ideal  of  the  catholic  and  universal  Church  has 
probably  never  been  more  nearly  realized  than  it  was  in  north- 
ern France  at  this  epoch.  A  people  profoundly  religious,  a 
clergy  newly  reformed  and  full  of  ascetic  enthusiasm,  an  episco- 
pacy devoted  to  the  interests  of  Rome  —  in  these  three  condi- 
tions is  found  the  lever  by  which  the  pope  was  able  to  dominate 
this  Church  as  he  has  never  been  able  to  dominate  any  other, 
the  power  by  which  he  was  able  to  make  his  word  an  absolute 
law  from  which  there  was  no  appeal.  The  strength  of  the  French 
Church  lay  in  this  strong  centralization,  in  this  absolute  subordi- 
nation of  the  clergy  to  the  catholic  power,  in  this  greater  loyalty, 
which  overshadowed  local  jealousies  and  caused  the  monk  to 
forget  his  hatred  for  the  priest,  the  bishop  to  join  hands  with 
his  enemy  the  canon,  in  the  great  common  devotion  to  Rome. 
No  monarchy  less  strong,  less  absolute,  than  the  papacy  of  the 
epoch  of  Innocent  III  could  have  held  together  all  these  discord- 
ant elements ;  nor  could  even  an  Innocent  III  have  accomplished 
such  a  task,  had  not  the  reform  left  the  personnel  of  the  French 
clergy  extraordinarily  high.  No  priesthood  before  or  since 
has  been  so  thoroughly,  so  unselfishly  sincere;  and  since  a  pri- 

178 


GEOGRAPHICAL   BOUNDARIES 

mary  dogma  of  XII  century  religion  was  the  duty  of  advancing 
the  temporal  welfare  of  the  Church,  this  sincerity  ipso  facto 
implied  the  liveliest  loyalty  to  Rome.  No  wonder  that  the 
pious  and  reforming  spirits  of  all  Europe  looked  to  France  as 
to  a  Utopia  where  religious  conditions  had  reached  the  happiest 
possible  expression;  no  wonder  the  successor  of  St.  Peter  proudly 
pointed  to  France  as  the  eldest  child  of  the  Church;  no  wonder 
the  bishops  and  chapters  set  about  erecting  architectural  memo- 
rials to  glorify  this  ecclesiastical  power  with  an  enthusiasm  that 
the  world  has  hardly  equaled. 

In  this  connection  it  is  interesting  to  remark  that  the  nais- 
sant  Gothic  architecture,  in  the  transitional  period,  found  its 
territorial  boundaries  —  not,  as  is  often  erroneously  stated,  in 
the  limits  of  the  Capetian  domain  —  but  in  the  limits  of  the 
influence  of  the  French  Church. 

Even  in  the  earliest  times,  although  it  is  convenient  to  refer 
to  the  school  of  the  He  de  France,  the  transitional  movement 
had  centered  not  at  Paris,  but  much  farther  to  the  eastward,  in 
the  neighborhood  of  Senlis.  It  thus  comprised  only  a  part  of 
the  royal  domain,  while  on  the  other  hand,  it  included  many 
lands  lying  outside  of  the  He  de  France,  such  as  certain  parts 
of  Picardy.  Later,  when  Gothic  architecture  came  to  spread 
to  the  other  provinces  of  France  and  Europe,  this  extension  of 
its  territory  took  place  in  a  manner  so  subtle  that  it  is  impos- 
sible to  trace  the  exact  stages  by  which  it  progressed.  The 
local  styles  first  showed  faint  traces  of  French  influence,  which 
grew  more  and  more  pronounced  until  at  last  the  French  style 
was  unmistakably  established,  though  always  in  a  more  or  less 
modified  form.  In  this  manner  the  limits  of  the  French 
school,  especially  during  the  second  phase  of  the  transitional 
movement,  were  constantly,  if  irregularly,  increasing,  and  ever 
absorbing  new  areas.  The  nature  of  this  growth  might  be 
illustrated  by  placing  a  wet  pen  on  a  piece  of  blotting  paper; 
the  resulting  ink  spot  gradually  increases,  the  color  traveling 
often  beneath  the  surface  and  so  imperceptibly  that  at  no  mo- 
ment is  it  possible  to  define  exactly  the  aftected  area,  although 
it  is  always  evident  that  the  spot  is  increasing  in  size.  In  Nor- 
mandy, as  has  been  seen,  the  French  school  was  fully  established 

179 


THE   TRANSITION 

only  at  the  beginning  of  the  XIII  century.  In  Maine,  except 
for  the  nave  of  the  cathedral  of  Le  Mans,  Gothic  appeared 
even  later.  The  lands  to  the  south  of  the  He  de  France, 
including  the  pi-esent  departements  of  Yonne,  Aube,  and  Loiret, 
seem  to  have  become  associated  with  the  Gothic  school  during 
the  second  phase  of  the  transition;  and  even  as  far  south  as 
Blois,  the  fine  transitional  church  of  St.  Laumer  might  as  well 
have  been  built  on  the  banks  of  the  Oise  as  of  the  Loire.  Cham- 
pagne had  joined  the  movement  even  earlier.  In  the  Centre, 
however,  in  the  region  comprised  in  the  present  departement  of 
Cher,  the  strong  local  school  long  resisted  foreign  influence. 
The  first  clumsy  examples  of  the  rib  vault,  it  is  true,  may  be 
found  in  this  district  as  early  as  the  middle  of  the  XII  century; 
but  Gothic  was  first  cordially  adopted  in  1295,  when  the  cathe- 
dral of  Bourges,  one  of  the  marvels  of  the  new  style,  was  com- 
menced in  the  manner  of  the  He  de  France.  This  region  is 
unique  in  that  it  shows  no  period  of  hesitation  or  mixture  of 
Gothic  and  Romanesque;  after  1295  it  followed  the  architec- 
ture of  the  royal  school  in  as  uncompromising  a  manner  as  it 
had  previously  followed  the  school  of  Berry.  Now  if  the  his- 
torical growth  of  the  French  Church  organization  be  traced, 
it  will  be  found  in  eveiy  instance  to  have  permeated  these  sur- 
rounding regions  in  the  same  intangible  manner,  and  at  about 
the  same  time  that,  by  a  study  of  the  monuments,  we  have  found 
that  Gothic  architecture  spread  to  the  same  districts. 

In  none  of  these  regions  immediately  adjacent  to  the  He 
de  France  (except  Normandy)  did  local  tradition  modify  the 
Gothic  forms  so  sensibly  as  to  give  birth  to  a  really  separate  local 
school.  In  the  following  chapters,  therefore,  by  the  term  French 
Gothic  we  shall  include  monuments  of  the  present  departements  of 
Somme,  Aisne,  Oise,  Seine,  Seine-et-Marne,  Seine-et-Oise,  Marne, 
Aube,  Eure-et-Loire,  Loiret,  Sarthe,  Yonne,  and  Cher.^  This 
boundary,  it  should  be  frankly  recognized,  is  purely  arbitrary. 
It  excludes  many  purely  Gothic  buildings  like  the  cathedral  of 
Tours  or  the  abbey  of  Montier-en-Der ;  on  the  other  hand,  it 
includes  a  certain  number  of  churches  like  the  abbey  of  Vezelay, 

1  Norman  Gotliic  is  included  in  the  departements  of  Calvados,  Manche,  Seine-Inferieure, 
Eure,  Orne. 

180 


MONK   MASTER   BUILDERS 

it  were  better  to  leave  out.  Still  a  rigid  territorial  division  is 
needful,  and  this,  as  long  as  it  be  understood  to  be  merely  ap- 
proximate, will  answer  the  present  purposes. 

There  is  one  final  question  which  must  be  considered  be- 
fore closing  this  over-long  chapter.  The  Gothic  cathedral,  it 
has  been  seen,  was  the  work  of  the  Church,  erected  by  the 
chapter  as  a  monument  of  ecclesiastical  vanity.  But  by  whom 
and  how  was  the  actual  execution  carried  out.* 

For  the  XIII  century,  although  the  question  offers  certain 
difficulties,  the  answer  is  for  the  most  part  clear.  The  abbot  or 
bishop  or  chapter  entrusted  to  a  lay  architect  or  master  builder 
the  drawing  of  the  plans  and  the  supervision  of  the  work.  But 
many  archaeologists,  —  practically  all  who  have  studied  this 
subject  —  believe  that  in  the  first  half  of  the  XII  century  things 
were  otherwise.  As  has  been  seen,  at  this  period  monasticism 
dominated  architecture;  consequently  it  has  been  generally 
inferred  that  the  monks  themselves  were  the  master  builders 
and  even  the  masons.  Viollet-le-Duc  found  in  this  supposition 
the  starting-point  for  his  unfortunate  idea  of  the  secular  cathe- 
dral; but  the  theory  has  been  since  followed  by  many  writers 
who  are  far  safer  guides  in  historical  matters.  Thus  Messrs. 
Enlart,^  St.  Paul,  Ruprich-Robert,-  Lavisse,^  Moore,^  Lenoir,^ 
Montalembert,^  all  state  this  hypothesis  as  a  fact  beyond  ques- 
tion. Yet  it  rests  upon  the  slimmest  sort  of  documentary  evi- 
dence, and  can  be  considered  at  most  no  more  than  a  plausible 
conjecture. 

In  fact,  the  amount  of  documentary  evidence  that  can  be 
adduced  on  one  side  or  on  the  other  of  this  question  is  small. 
Nothing  is  more  exasperating  than  the  silence  of  the  chroniclers 
on  the  subject.  The  formula  is  ever  the  same  in  all  the  hun- 
dreds and  thousands  of  accounts  of  the  construction  of  churches 
that  have  come  down  to  us.  Such  and  such  an  abbot  began  to 
build  such  and  such  a  church  in  such  and  such  a  year.  Did 
the  abbot  build  himself  with  his  own  hands  }  Clearly  not,  since 
the  same  words  are  employed  in  the  XIII  century  in  connection 

'  J/are.  d'Arch.  I,  62.  ••  Gothic  Architecture,  p.  27. 

=  Arch.  Norm.,  p.  248.  ^  Arch.  Moii.,  p.  36. 

^  Hist,  de  France  II-,  407.  ^  Les  Moines  d' Occident  VI,  p.  242  et  seq. 

181 


THE   TRANSITION 

with  buildings  which  it  is  known  were  erected  by  a  master  builder. 
Consequently  the  verb  '* build"  must  be  understood  to  mean 
"caused  to  be  built."     But  who  did  the  actual  building.'' 

The  silence  of  the  chroniclers  on  this  point  is  so  complete 
as  to  be  unnatural.  In  all  the  voluminous  records  of  the  XII 
century  no  hint,  no  reference  has  betrayed  the  secret.  Suger 
wrote  two  works  on  the  construction  of  St.  Denis;  he  relates 
all  the  details  of  the  construction,  the  design  of  the  stained  glass 
windows,  the  quarries  from  which  came  the  stone,  the  forests 
where  the  timber  was  obtained;  but  so  carefully  does  he  avoid 
all  mention  of  this  vital  point,  that  his  work  may  be  taken  as  an 
argument  on  one  side  as  much  as  on  the  other.  Was  the  edi- 
fice constructed  by  monks  who  in  humility  refrained  from  pass- 
ing their  names  on  to  posterity .'  This  explanation  might  account 
for  any  individual  case,  even  for  the  majority  of  cases.  But  it 
is  impossible  to  believe  that  in  all  the  XII  century  there  would 
not  have  been  some  monk-artist  so  proud  of  his  work  that  he 
would  have  allowed  a  tell-tale  "my"  to  slip  into  his  chronicle. 
And  there  was  no  reason  why  a  chronicler  who  was  not  a  master 
builder  should  have  hidden  his  brother's  light  under  a  bushel. 
It  is  easier  to  account  for  this  silence  of  the  chroniclers  by  the 
habitual  scorn  of  the  ecclesiastic,  and  indeed  of  all  the  higher 
classes,  for  the  bourgeois  and  serf.  In  consequence  of  this 
contempt,  the  clerks  were  doubtless  little  interested  in  the  names 
of  the  workmen  who  carried  out  the  construction  of  their  abbey, 
and  considered  the  memory  of  such  serfs  unworthy  to  transmit 
to  posterity.  The  important  man  was  the  abbot  who  raised  the 
resources,  undertook  a  general  supervision  of  the  entire  con- 
struction, and  hired  the  artists.  Since  we  know  that  this  —  in 
slightly  less  degree  —  was  precisely  the  attitude  of  the  chroni- 
clers in  the  XIII  century,  in  default  of  all  positive  evidence  to 
the  contrary,  it  is  reasonable  to  suppose  that  the  historians  of 
the  XII  did  not  mention  lay  builders,  not  because  such  did 
not  exist,  but  because  they  did  not  consider  them  worthy  of 
mention.  In  Gothic  art,  the  work  was  everything,  the  artist 
nothing. 

Against  this  argument  it  may  be  urged  that  it  would  have 
been  quite  the  spirit  of  the  times  for  the  monks  themselves  to 

182 


PIASTER   BUILDERS   IN   THE   XII   CENTURY 

undertake  the  work  of  building.  In  the  Middle  Ages  the  monk 
turned  his  hand  to  everything.  Not  only  was  he  concerned 
with  books  and  learning,  but  he  also  busied  himself  with  all 
sorts  of  manual  and  practical  labor.  The  painters  of  the  XIII 
century  in  Italy  were  monks,  and  the  illuminations  of  manu- 
scripts testify  to  the  survival  throughout  the  medieval  period 
of  the  finest  artistic  sense  in  the  monasteries.  Moreover  in 
one  case  there  is  actual  documentary  proof  that  a  monk  of  the 
XII  century  did  direct  building  construction. 

In  1110  Geoffroy,  abbot  of  the  Trinity  at  Vendome,  lent  to 
Hildebert,  bishop  of  Le  Mans,  who  was  then  reconstructing 
his  cathedral,  a  monk  named  Jean,  since  the  latter  had  the  rep- 
utation of  being  an  excellent  master  builder.  Hildebert,  in 
fact,  was  so  pleased  with  his  services  that  he  was  unwilling  to 
send  him  back  when  the  stipulated  time  was  up.  Geoffroy 
demanded  his  architect  in  vain;  the  bishop  of  Le  Mans  paid  no 
attention  to  his  remonstrances,  and  Jean  remained  with  Hilde- 
bert in  spite  of  the  excommunication  pronounced  against  him.' 

This  incident,  and  one  or  two  others  of  similar  character, 
the  strongest  evidence  in  favor  of  the  theory  that  the  XII 
century  builders  were  monks,  prove  indeed  that  certain  monks 
in  the  first  half  of  the  XII  century  were  master  builders. 
They  do  not  prove  that  all  master  builders  were  monks.  In 
the  XIII  century,  in  the  full  sway  of  the  lay  builders  there 
is  no  reason  to  believe  that  monks  may  not  occasionally  have 
been  architects,  as  they  at  times  practised  almost  any  profes- 
sion. In  England  Alan  of  Walsingham  is  a  conspicuous  in- 
stance of  an  ecclesiastic  who  was  also  a  master  builder  even  in 
the  late  Gothic  period. 

With  this  text,  moreover,  should  be  placed  another,  which 
is  so  well  known  that  I  am  surprised  at  never  having  seen  it 
cited  in  this  connection,  a  text  which  dates  from  the  first  half  of 
the  XI  century  and  occurs  in  a  description  of  Airard's  recon- 
struction of  St.  Remi  in  Reims:  "Therefore  having  summoned 
men  who  were  said  to  be  skilled  in  architecture  ...  he  com- 

1  Geoffridi  abbatis  Vindocinencis,  Ep.,  lib.  HI,  ep.  XXV,  XXVI,  XXIX,  XXI,  cit.  Le- 
fevre-Pontalis.  M.  Erdart  (Man.  d'Arch.  I,  62)  mentions  one  or  two  other  instances  of 
monk  master  builders. 

183 


THE   TRANSITION 

menced  to  build."  Quapropter  viris  qui  architecturae  periti 
ferebantur  ascitis  .  .  .  fabricam  .  .  .  erigere  coepit.  The  use  of 
the  word  viris,  men,  instead  of  some  word  like  monks  or  lay 
brothers  seems  to  prove  conclusively  that  these  builders  were 
laymen.  A  little  further  on  in  the  same  manuscript  is  found  a 
similar  passage  —  "This  building  he  almost  destroyed,  but 
left  certain  foundations,  which  the  architects  thought  would  be 
useful  for  the  future  building"  —  " Quo  poene  diruto  et  fund- 
mentis  quibusdam  relictis,  quae  architectis  visa  sunt  necessaria 
fore  futuris  aedificiis,  divinavi  domum  coepit.'"  '  If  in  the 
XI  century  and  in  the  XIII  there  were  lay  architects,  there 
is  no  reason  to  suppose  that  there  were  none  in  the  XII 
century. 

It  has  been  argued  that  inasmuch  as  it  is  known  that  the 
guild  of  masons  was  organized  in  the  XII  century,  it  may  be 
inferred  that  the  secular  trade  originated  at  this  same  time. 
There  is,  however,  not  the  slightest  reason  to  suppose  that  the 
trade  may  not  have  long  antedated  the  corporation.  No  one 
denies,  for  example,  that  butchers,  bakers,  and  shoe-makers 
existed  before  Louis  VII  granted  them  charters,  nor  would  any 
one  think  of  ascribing  these  occupations  exclusively  to  monks. 
Furthermore,  if  all  the  architects  were  ecclesiastics,  who  con- 
structed the  lay  buildings  of  the  XII  century  —  the  castles,  the 
walls,  the  fortifications,  the  houses  ?  —  And  who  constructed 
the  small  country  churches  of  the  He  de  France  where  most  of 
the  great  architectural  discoveries  of  the  XII  century  originated  ? 
And  how  were  the  laymen  suddenly  educated  to  take  up  this 
great  work .'  How  was  it  possible  in  a  moment  to  call  into 
being  enough  skilled  masons  and  architects  to  cover  all  France 
with  the  vast  cathedrals  and  churches  of  the  early  Gothic  period  ? 
And  why  did  the  monks  all  at  once  cease  to  play  the  role  of 
master  builders  ?  Until  all  these  difficulties  are  explained,  we  are 
forced  to  assume  that  the  building  trades  in  the  XII  century, 
while  doubtless  less  developed,  were  still  not  radically  different 
in  nature  from  those  which  we  know  existed  in  the  XIII  century. 

In  the  Gothic  period  the  relationship  of  master  builder  — 
the  use  of  the  word  "architect"  in  the  passage  of  Anselm  cited 

'  For  these  texts  in  full  see  List  of  Monuments,  p.  206. 
184 


VILLARD   DE   HONNECOURT 

above  is  altogether  exceptional  in  medieval  usage,  and  best 
avoided  —  to  bishop  or  chapter  was  roughly  parallel  to  that 
of  the  modern  architect  to  his  client.  The  master  builder 
was  decidedly  a  man  of  profession,  who  often  traveled  great 
distances  in  order  to  obtain  important  commissions.  Thus 
even  as  early  as  1174,' William  of  Sens  journeyed  to  England  to 
apply  for  the  work  of  rebuilding  the  cathedral  of  Canterbury, 
which  had  just  been  destroyed  by  fire.  Villard  de  Honnecourt, 
a  master  builder  of  the  second  half  of  the  XIII  century,  whose 
album  of  sketches  has  come  down  to  us,  went  to  Hungary  to 
take  charge  of  the  building  of  a  church.  This  same  Villard  de 
Honnecourt  also  seems  to  have  traveled  much  for  purely  educa- 
tional purposes,  since  his  album  contains  sketches  made  at 
such  widely  separated  centers  as  Laon,  Reims,  Chartres,  and 
Lausanne.  The  sketches  are  usually  accompanied  by  com- 
ments scrawled  in  the  margin;  thus  opposite  the  towers  of  Laon 
which  he  especially  admired,  and  which  he  carefully  drew  in 
plan  and  perspective,  he  added  a  note  to  the  effect  that  he  had 
traveled  far  and  seen  many  towers,  but  none  like  those  of  Laon. 
The  window  tracery  of  Reims  also  struck  his  fancy  and  he  jotted 
down  that  it  was  his  intention  to  reproduce  the  design  in 
the  cathedral  of  Cambrai,  which  he  was  building  at  the  time. 
Thus  it  is  evident  that  the  master  builders  moved  about 
freely  from  place  to  place  for  education  as  well  as  for  busi- 
ness, and  readily  undertook  even  long  journeys  to  obtain 
commissions. 

When  a  new  construction  of  importance  had  been  deter- 
mined upon,  the  bishop  or  chapter  or  abbot,  as  the  case  might 
be,  let  the  fact  be  known.  Usually  several  applicants  for  the 
position  of  master  builder  would  present  themselves.  From 
these  was  selected  the  one  who  made  the  most  favorable  impres- 
sion —  either  as  promising  to  carry  out  the  work  more  econom- 
ically, or  as  being  the  best  qualified  by  previous  training  and 
experience.  Other  considerations,  such  as  the  pay  demanded, 
or  how  much  of  the  old  edifice  the  various  applicants  promised 
to  preserve,  also  influenced  the  selection. 

After  the  successful  candidate  had  been  chosen,  he  entered 
into  agreement  with  the  ecclesiastical  powers,  and  for  a  definite 

185 


THE   TRANSITION 

wage  undertook  to  carry  out  the  stipulated  construction.'  Only 
in  exceptional  cases  was  there  anything  approaching  a  contract; 
as  a  general  rule  in  the  XIII  century  the  master  builder  was 
paid  a  regular  salary  just  as  were  the  men  who  worked  under 
him. 

The  services  he  must  render  in  return  for  this  wage  were 
various.  First  of  all  he  must  make  the  drawings;  for  the  mod- 
ern impression  that  the  medieval  building  was  erected  without 
drawn  plans  is  entirely  a  flight  of  the  imagination.  The  Gothic 
cathedral,  in  which  the  last  stone  of  the  vault  was  foreseen  from 
the  first  stone  of  the  foundations,  could  not  possibly  have  been 
erected  without  the  use  of  plans.  Indeed  it  is  probable  that 
no  medieval  buildings  were  built  in  the  haphazard  way  certain 
present-day  writers  love  to  picture,  and  that  the  use  of  archi- 
tectural drawings  survived,  an  unbroken  tradition,  from  An- 
tiquity to  the  Renaissance.  There  is  extant  a  ground  plan  of 
the  monastery  of  S.  Gallo,  dating  from  the  IX  century;  and  the 
album  of  Villard  de  Honnecourt,  although  a  collection  of  trav- 
eler's sketches,  rather  than  a  series  of  architectural  drawings, 
still  serves  to  give  an  excellent  idea  of  the  kind  of  drawings  made 
for  a  medieval  cathedral. =  These,  we  may  be  sure,  were  thor- 
oughly unlike  our  modern  architectural  drawings,  where  more 
thought  is  given  to  the  rendering  than  to  the  design,  to  the  pres- 
entation than  to  the  thought;  where  all  the  resources  of  another 
art  are  employed  to  hide  the  imperfections  of  the  architecture. 
The  medieval  plans  were  plain,  straightforward  line  drawings, 
made  for  use,  not  for  display;  doubtless  suflBciently  accurate 
for  their  purpose,  but  largely  undetailed.  The  building  was 
conceived  as  an  entity,   as  an  existing  reality,   in  the  master 

1  There  were  often  suits  and  difficulties  on  this  score.  See  for  example  the  Inventaire  of 
Vernon  cited  by  De  la  Balle:  "Item  en  une  lx)Tte  ronde,  signee  xxj  est  un  procesdevant  I'abbe 
de  St.  IMagloire,  men  entre  le  chapitre  de  Vernon  et  Me  Jean  Antabour,  ma9on,  maistre  des 
oeuvres  poiu-  le  Roy,  a  cause  du  cuer  de  1  'eglise  dont  lors  fut  marche  fait  avee  le  dit  maistre  Jehan 
d  'abattre  le  \-ielle  mafonnerie  des  voustes  du  choeur  et  reediffier;  lesquelles  choses  sont  plus  au 
large  contenues  en  dit  proces,  et  ne  fut  pas  la  dite  ouvrage  faite  ainsy  que  le  marche  le  contenait 
et  peut  estre  garde  pour  autre  avis  sur  la  perfection  de  I'ouvrage  encommence  si  on  la  voulait 
parfaire,  et  fut  iceluy  proces  mis  et  discute  devant  le  dit  abe  de  Saint  Magloire,  comme  fuge  donne 
a  I'eglise  de  Vernon  par  vertu  de  la  bulle  cy  devant  enregistree  et  coltee  en  la  boltte  cy  devant 
xvi].     Lequel  proces  fut  mis  devant  le  dit  abe  I'an  1380. 

"  There  are  extant  also  several  other  architectural  drawings  of  the  XHI  century.  A  list 
of  these  is  given  by  M.  Enlart,  Man.  d'Arch.  I,  65. 

186 


DUTIES   OF   MASTER   BUILDER 

builder's  brain;  the  plan  was  merely  a  sketch  to  assist  in  the 
execution.     (111.  216.) 

Beside  the  drawings  it  is  altogether  probable  that  the  master 
builders  prepared  models  of  their  buildings.  Such  models 
were  common  in  classical  times.  Dr.  Bendorf^  publishes  sev- 
eral Greek  coins  and  reliefs  on  which  are  represented  such  build- 
ing models,  held  in  the  hands  of  various  personages,  doubtless 
as  votive  offerings,  and  an  actual  example  of  an  ancient  build- 
ing model  has  lately  come  to  light  in  Ephesus.  Since,  there- 
fore, building  models  were  employed  in  Antiquity  and  in  the 
Renaissance,  there  seems  no  reason  to  doubt  that  they  were 
used  also  in  the  Middle  Ages.  Indeed,  Mr.  Frothingham  ^  has 
just  discovered  what  he  believes  to  be  the  original  model  for  the 
church  of  St.  Maclou,  Rouen;  if  this  model  should  prove  to  be 
genuine  it  would  establish  the  fact  that  building  models  were 
employed  at  least  in  the  flamboyant  period. 

The  duties  of  the  master  builder,  far  from  ending  with  the 
preparation  of  drawings  and  models,  demanded  that  he  should 
supervise  the  entire  construction  to  the  most  minute  detail. 
He  accordingly  went  to  live  in  the  town  where  his  work  was 
situated,  and  never  deserted  his  charge  until  the  work  was 
finished,  or,  as  often  happened,  his  own  life  ended  first.'  One 
building  thus  became  his  life  work;  on  this  one  production 
was  concentrated  all  his  energy,  all  his  thoughts,  all  his  ability. 
Such  singleness  of  purpose  must  have  meant  a  whole-souled 
devotion  to  art  such  as  we  of  the  XX  century  can  hardly  imagine. 

It  was  only  human  nature  that  this  lofty  ideal  should  not 
always  be  realized;  and  that  master  builders  at  times  fell  from 
grace  is  revealed  by  an  interesting  passage  in  the  Chronicle  of 
Bee:  " Therefore  when  the  foundations  had  been  laid  deep,  the 
abbot  himself  surrounded  by  his  monks  laid  the  first  stone  of 
the  foundations  on  the  first  day  of  Lent;  and  Ingebram,  master 
builder  of  Notre  Dame  of  Rouen,  directed  and  aided  in  the  con- 
struction.    And    to    his    superintendence    the    abbot    entrusted 

1  Jh.  Oesterr.  Arch.  I,  V,  1902,  pp.  175-195. 

2  Architectural  Record,  August,  1907. 

'  When  the  edifice  was  small,  and  after  c.  1250,  the  master  builder  frequently  did  not 
reside,  but  merely  visited  the  construction  at  stipulated  intervals. 

187 


THE   TRANSITION 

the  beginning  and  care  of  that  work,  and  for  the  first  year  Inge- 
bram  worked  hard  at  the  "building,  and  constructed  it  with  great 
success,  ahering  the  fa9ade  and  increasing  the  length  of  the 
nave  and  wonderfully  adorning  it  with  two  broad  towers;  but 
after  a  year  and  a  half  he  commenced  to  absent  himself  occa- 
sionally, neglecting  the  work  and  not  finishing  it  as  he  had 
promised.  When  the  abbot  saw  and  understood  this,  he  took 
wise  council,  and,  when  now  a  year  and  eight  months  had  passed, 
he  removed  Ingebram  from  the  sacred  place,  and  handed  the 
work  over  to  the  master  builder  Walter  of  Melun,  who  finished 
it  in  the  third  year."  ' 

This  passage  shows  that  the  relation  of  master  builder  and 
client  was  a  very  close  one  —  a  fact  also  made  evident  in  Ger- 
vase's  account  of  the  rebuilding  of  Canterbury.  The  responsi- 
bility of  the  abbot  or  bishop  did  not  end  when  the  master  builder 
was  engaged.  On  the  contrary,  he  watched  carefully  every 
detail,  saw  to  providing  building  materials,  and  frequently 
interfered  even  in  purely  architectural  and  artistic  matters. 
At  St.  Denis,  Suger,  the  abbot,  directed  where  and  how  work 
should  be  begun,  decided  from  what  quarries  stone  should  be 
taken,  devised  how  to  procure  suitable  columns,  and  hunted  in 
the  forests  for  timber.  He  even  superintended  the  details  of 
the  design  of  the  stained  glass  windows. 

This  strict  control  exercised  by  the  ecclesiastical  authorities 
explains  the  eminently  scholastic  character  of  the  Gothic  church. 
The  master  builder  and  the  clerk  walked  hand  in  hand.  The 
function  of  the  former  was  not  to  dictate,  to  impose  his  artistic 
conception  on  the  priest;  he  was  simply  an  expert,  a  man  with 
practical  experience  called  in  to  execute  the  desired  work  in 
the  best  manner  possible,  to  oversee  the  workmen,  and  to  under- 

'  Igitur  jactis  in  altum  fundamentis,  ipse  manibus  suis  primum  lapidem  circumstante  con- 
ventu  suo  super  fundamentum  posuit,  prima  die  lunae  quadragesiniae  procurante  et  cooperante 
Ingebramno  magistro  operis  Beatae  Mariae  Rothom.  Cujus  consUio  se  cormmsit  ad  illud  opus 
inchoandum  et  procurandum,  idem  vero  Ingebramnus  \-iriliter  agens  opus  inceptum  primo  anno 
cum  magna  \-irtute  aedificai-it,  et  frontem  ecclesiae  et  navem  in  longitudinem  auxit,  et  duabus 
amplissimis  turribus  mirefice  adoma\'it:  peracto  autem  anno  et  semi,  retraxit  se  aliquantulum 
opus  retardando  et  non,  ut  promiserat,  perficiendo.  Quo  viso  et  coraperto  abbas,  sapienti  usus 
consilio,  jam  uno  anno  et  octo  mensibus  expletis,  amoto  Ingebramno  foro  sancto,  tradidit  illud 
opus  ad  perficiendum  magistro  Walterio  de  Mellente  qui  tertio  anno  adduxit.  —  Beati  Lan- 
franci.  Opera  Omnia,  Paris,  1648. 

188 


DUTIES   OF   MASTER   BUILDER 

take  those  matters  for  which  the  bishop  or  abbot  lacked  the 
requisite  technical  knowledge.  How  close  this  union  of  client 
and  master  builder  was,  the  thoroughly  ecclesiastical  character 
of  the  cathedral  itself  is  the  best  witness.  That  disagreements, 
disputes,  and  misunderstandings  of  various  kinds  should  arise 
was  only  natural,  but  in  all  such  altercations  the  ecclesiastical 
authorities  always  retained  the  upper  hand.  It  is  amusing  to 
read  in  Gervase  what  infinite  tact  William  of  Sens  was  forced 
to  employ  to  persuade  the  reluctant  monks  that  it  was 
necessary  to  destroy  the  charred  fragments  of  the  glorious  choir 
of  Conrad.^ 

Also  the  relationship  of  the  master  builder  to  the  men  under 
him  was  far  closer  than  that  existing  between  the  modern  archi- 
tect and  the  laborers.  The  medieval  master  builder  not  only 
superintended  everything  connected  with  the  building  —  the 
quarrying  of  the  stone,  the  stereotomy,  the  construction  of  scaf- 
folds and  centerings  —  but  he  seems  also  to  have  labored  much 
with  his  own  hands.  Willliam  of  Sens,  called  from  France  to 
direct  the  construction  of  the  cathedral  of  Canterbury,  was 
seriously  injured  by  falling  from  the  scaffold ;  and  the  entire 
lone  of  Gervase's  account  of  the  activities  of  this  master 
builder  gives  the  impression  that  he  actually  performed  with 
his  own  hands  much  manual  labor.  However,  that  master 
builders  who  confined  their  activity  to  merely  directing  the 
construction  from  afar  were  not  unknown,  especially  in  the 
latter  part  of  the  Middle  Ages,  seems  to  be  shown  by  two  texts. 
The  first,  a  curious  mixture  of  bad  Latin  and  old  French,  is 
from  a  sermon  of  Nicolas  of  Berne  ^  and  may  thus  be  translated : 
"The  master  builders  with  rule  and  compass  in  hand,  say  to 
others,  'Cut  this  here  for  me,'  and  do  not  work  themselves,  and 
yet  they  receive  higher  pay,  like  many  modern  prelates."  The 
second  is  even  more  explicit:  "Some  work  by  word  alone. 
For  take  notice.  In  great  buildings  there  is  usually  a  single 
master   builder  who   directs   the   construction   by  word   alone, 

*  For  this  text  see  List  of  Monuments  under  Canterbury  in  Vol.  III. 

^  Published  in  the  Romania  of  1889,  p.  289.  Magistri  cementarium  virgam  et  cyrothecas 
in  manibus  habentes,  aliis  dicunt:  Par  ci  le  me  taille,  et  nihil  laborant;  et  tamen  majorem  mer- 
cedem  accipiunt,  quod  faciunt  multi  moderni  prelati. 

189 


THE   TRANSITION 

and  seldom  or  never  does  manual  labor,  but  nevertheless  he 
receives  higher  pay  than  the  others.  So  there  are  many  in  the 
Church  who  possess  fat  benefices,  but  God  knows  what  good 
they  do ;  they  work  by  their  tongue  alone,  saying  '  thus  you  ought 
to  do,'  but  themselves  do  not  so  at  all."  '■ 

This  last  text,  it  should  be  noticed,  is  of  the  XIV  century, 
and  the  increased  dignity  for  the  office  of  master  builder  that  it 
implies  is  part  of  a  distinct  evolution  of  which  we  catch  glimpses 
now  and  then  across  the  darkness  of  the  centuries.  In  the  early 
part  of  the  XII  century  the  master  builder  seems  to  have  been 
merely  a  workman  not  distinguished  from  his  fellows  by  the 
chroniclers.  At  the  end  of  the  same  century  William  of  Sens 
had  risen  to  a  certain  amount  of  importance,  but  was  still  dis- 
tinctly an  artisan.  In  the  XIII  century  Villard  de  Honnecourt 
was  an  educated  man ;  he  traveled  over  most  of  Europe  and  was 
able  to  write.  The  master  builder  had  ceased  to  be  a  laborer 
and  had  become  a  man  of  profession.  From  this  moment  he 
stepped  more  and  more  into  prominence;  he  occupied  an  ever- 
increasing  space  in  literar}^  records,  and  in  the  flamboyant 
period  very  frequently  signed  his  work  by  an  inscription  placed 
in  a  conspicuous  position  upon  the  edifice.  In  the  period  of 
the  Renaissance  the  evolution  of  the  modern  architect  was 
completed. 

Nothing  could  be  more  interesting  than  to  know  to  just 
what  extent  the  master  builder  of  the  XIII  century  supervised 
the  carving  of  the  sculpture  and  floral  ornament.  Did  he 
merely  turn  over  to  separate  artisans  the  spaces  to  be  adorned 
with  sculptured  ornament,  and  allow  these  artists  to  execute 
designs  of  their  own  fancy  ?  The  assertion  has  been  many  times 
repeated  by  modern  writers.  I  should,  however,  hesitate  to 
affirm  it.  Although  the  evidence  that  has  come  down  to  us 
of  this  subject  is  scarcely  sufficient  to  permit  a  positive  judg- 
ment, the  sketch  book  of  Villard  de  Honnecourt  certainly  seems 
no  less  occupied  with  studies  for  statues  and  ornamental  sculp- 

^  Operantur  aliqui  solo  verbo.  Xota.  In  istis  magnis  aedificdis  solet  esse  unus  magister 
principalis  qui  solum  ordinat  ipso  verbo,  raro  aut  nunquam  apponit  nianum  et  tamen  accepit 
majora  stip)endia  aliis.  Sic  multi  sunt  in  ecclesia  qui  babent  pinguia  beneficia  et  Deus  scit  quan- 
tum faciant  de  bono:  operantur  in  ea  solum  lingua  dicentes,  "Sic  debetis  facere"  et  ipsi  niiiil 
horum  faciunt.  —  Vib.  Nat.  fo.  30,  col.  2,  no.  16490. 

190 


THE   MASONIC    GUILD 

ture  than  with  mechanical  engines  and  architecture  proper. 
This  fact  certainly  implies  that  in  the  thought  of  the  Middle 
Ages  the  arts  were  not  separated.  The  strict  unity  of  archi- 
tecture, statuary,  and  ornament  so  noticeable  in  the  early 
buildings  rather  confirms  this  impression.^  But  to  decide 
definitely  this  question  we  should  have  to  know  much  more 
than  it  is  probable  that  we  ever  can  know  about  the  workmen 
of  the  Middle  Ages,  and  their  methods. 

For  the  medieval  laborer  has  left  few  traces  on  the  page  of 
history.  ^Mio  were  these  masons  ?  Were  they  local  work- 
men or,  like  the  master  builders,  did  they  move  about  from 
place  to  place  ?  Were  there  several  degrees  and  qualities  among 
them,  one  mixing  mortar,  another  carrying  stone,  a  third  carv- 
ing capitals,  a  fourth  executing  sculpture  ?  Unless  some  long 
forgotten  text,  hidden  among  the  musty  chronicles,  be  discovered 
to  reveal  these  secrets,  however  much  we  may  conjecture,  we 
can  never  know  the  inner  workings  of  the  construction  of  the 
Gothic  cathedral. 

A  chance  fact  that  has  come  down  to  us  here  and  there 
serves  only  to  make  more  confusing  the  maze  that  would  mean  so 
much,  could  it  only  be  unraveled.  It  is  known,  for  example, 
that  the  masons,  like  the  tanners,  the  bakers,  or  the  butchers 
were  united  in  guilds  or  corporations.^  Unfortunately,  how- 
ever, this  particular  guild  seems  to  have  left  little  trace  of  its 
nature  and  peculiarities.  The  usual  character  of  the  medieval 
guild  is  familiar  enough  —  a  body  of  artisans  who  possessed 
the  monopoly  of  trade  in  a  particular  town,^  banded  together  to 

1  This  thought  has  been  finely  expressed  by  Herr  Viige :  —  Was  sich  jedoch  aus  der  kunst- 
lerichen  Kritik  dieser  [Chartreren]  Skulpturen  unmittelbar  abnehmen  lasst,  ist  nicht  die  monch- 
ische  Herkunft,  sondern  die  unbedingte  Unterordnung  der  Kunstler  unter  die  Architektur.  Wenn 
die  Werkmeister,  die  hier  nacheinander  die  plastischen  Arbeiten  fur  das  Portal  geleitet  haben, 
wenn  der  Chartrerer  Hauptmeister  imd  der  "Meister  der  beiden  Madonnen"  nicht  geradezu  zu 
identificieren  sind  mit  den  Baumeistem  die  zu  der  selben  Zeit  an  der  Kathedrale  thatig  waren, 
so  standen  sie  jedenfalls  unter  ihrer  unmittelbaren  Leitung.  Dass  sich  die  Skulpturen  als  eine 
abgeschlossene  Kaste  von  Kunstlem  aus  der  Menge  der  iibrigen  Werkleute  heraushoben,  dafiir 
fehlt,  wie  wir  sahen,  jeder  Anhalt.  Die  technische  Leitung  der  Bauten  lag  hier  aber  aliem 
Anschien  nach  in  der  Hand  von  Laienbaumeistem  denn  vpir  finden  bereits  in  der  altesten  Redak- 
tion  des  Chartrerer  Necrologiums  mehrere  Kunstler  der  Kathedrale  bei  Namen  genannt."  — 
p.  282. 

^  The  Uttle  which  is  known  of  the  guild  of  masons  has  been  ably  summarized  by  M. 
Enlart,  Man.  d'Arch.  I,  68. 

^  Uniformity  did  not  exist  in  the  Middle  Ages  in  the  organization  of  labor.     It  is  usually 

191 


THE   TRANSITION 

advance  their  common  interests.  The  guild  was  headed  by  a 
chief  officer,  usually  elected  by  vote,  whose  duty  it  was  to  pro- 
tect the  interests  of  the  association.  These  corporations  were 
often  "close"  and  "hereditary";  that  is  to  say,  no  one  might 
practise  the  given  trade  unless  he  belonged  to  the  corporation, 
and  none  could  belong  to  the  corporation  unless  his  father  had 
belonged  before  him,  and  unless  he  himself  had  served  a  long 
period  of  apprenticeship.  The  members  of  the  guild  lived  in 
a  separate  quarter  or  street,  and  formed,  in  fact,  a  community 
by  themselves. 

It  seems  as  if  the  guild  of  the  masons  could  not  have  con- 
formed very  closely  to  this  general  type.  This  guild,  it  is 
known,  was  "free" — that  is,  no  fee  was  demanded  of  those 
who  entered  the  trade.  But  with  the  exception  of  the  legitimate 
sons  of  masters,  each  novice  had  to  serve  an  apprenticeship  of 
six  years,  and  no  master  was  allowed  to  have  more  than  one 
apprentice.  The  great  number  of  skilled  workmen  required 
to  construct  a  cathedral  could  hardly  have  found  sufficient 
work  to  support  them  in  the  city  when  works  on  the  church 
were  not  in  progress.  It  is  therefore  probable  that,  like  the 
master  builders,  they  moved  about  from  place  to  place,  probably 
with  their  wives  and  families.  But  did  they  move  in  mass, 
in  great  bands  ?  The  fact  of  the  corporation  seems  to  imply 
it,  for  it  is  difficult  to  see  how  a  guild  could  exist,  if  the 
members  were  constantly  shifting  from  one  city  to  another. 
And  in  what  relationship  could  the  master  builder  have  stood 
to  these  corporations  ?  Was  he  merely  the  chief  man  of  the 
band  elected  by  his  fellows .''  \ATiat  is  known  of  the  master 
builders  seems  to  contradict  such  an  hypothesis. 

But  it  is  the  part  of  wisdom  to  trim  sail  at  this  point  and  to 
venture  no  farther  upon  that  sea  of  conjectures  which  the  mys- 
teries of  this  period  open  up  to  us.  For  once  launched  upon  these 
unknown  waters  —  especially  if  the  helmsmen  be  of  a  senti- 

imagined  that  all  the  trades  were  formed  into  "close"  corporations,  that  is  to  say  into  privileged 
companies  having  the  absolute  monopoly  of  manufacture  and  sale.  This  is  an  error  even  for 
the  XV  century;  much  more  so  for  the  XII  or  XIII.  The  organization  of  a  close  corporation 
did  not  by  any  means  always  imply  the  suppression  of  independent  artisans.  The  guilds,  more- 
over, were  often  not  hereditary  until  the  XV  century,  although  sons  might  follow  their  fathers' 
calling.  —  Lavisse,  Hist,  de  France  1\',-  pp.  132,  136,  137. 

192 


I 


ST.    DENIS 

mental  turn  of  mind,  —  there  is  no  telling  on  what  imagina- 
tive shores  we  may  not  bring  up.  Hidden  away  beneath  the 
dust  and  mould  of  centuries,  there  doubtless  yet  survives  many 
a  medieval  manuscript  unknown  and  unpublished.  Some  day 
there  may  be  brought  to  light  one  of  these  that  will  reveal  much 
that  is  now  dark  in  the  methods  and  customs  of  the  medieval 
builders.  Until  such  time  we  can  only  wait  —  solaced,  perhaps, 
by  the  negative  comfort  that  this  is  far  from  being  the  only 
mystery  enclosed  beneath  the  silent  vaults  of  the  medieval 
cathedral.  These  venerable  monuments  indeed  are  full  of 
mysteries  —  mysteries  so  deep  and  incomprehensible  that  their 
very  existence  has  been  unsuspected.  Every  year  the  world 
is  surprised  when  the  researches  of  some  scholar  bring  to  light 
some  new  perfection,  some  unexpected  beauty;  and  however 
much  these  piles  are  studied,  however  carefully  they  are  scru- 
tinized, there  seems  always  to  remain  an  inexhaustible  supply 
of  new  beauties  undiscovered.  And  even  should  the  last  and 
most  minute  of  the  detailed  perfections  —  some  day  in  the  very 
far  future  —  be  disclosed,  yet,  after  all,  the  chief  mystery,  the 
miracle  of  miracles  —  the  Gothic  cathedral  itself  —  would  still 
remain  to  baffle  men;  for  this  mystery,  in  all  its  complexity,  in 
all  its  symbolism,  in  all  its  manifold  beauty,  the  human  mind 
is  hardly  large  enough  or  broad  enough  to  master. 


MONUMENTS    OF    THE    TRANSITION 

First  Class  Monuments 

ST.  DENIS,  Seine.  Abbaye.  (111.  169,  191,  246.)  This,  the  most  important 
of  aU  transitional  monuments,  is  surpassed  in  historical,  archaeological,  and  artistic 
interest  by  few  churches  of  Europe.  Founded  by  Dagobert  (628-638),  St.  Denis 
has  ever  been  the  royal  abbey  of  France,  enriched  by  the  munificence,  and  protected 
by  the  favor,  of  her  kings,  who  almost  without  exception  here  found  their  burial  place. 
There  was  a  tradition  that  the  basilica  which  Suger  rebuilt  in  the  XII  century  was  the 
very  church  erected  by  Dagobert,  and  this  pious  legend  Suger,  with  the  character- 
istic diplomacy  of  the  Church,  did  not  correct,  although  several  of  the  numerous 
texts  which  prove  that  the  edifice  was  reconstructed  at  the  end  of  the  VIII  century  must 
have  been  before  the  eyes  of  the  venerable  abbot.  Thus  a  couplet  of  Alcuin  records : 
"This  beloved  house  of  God  was  renewed  with  great  splendor,  as  thou  seest,  reader, 

193 


TRANSITIONAL   MONUMENTS 

in  his  [Fulrad's  (f  784)]  time".'  Another  text  refers  to  "  .  .  .  the  church  of  St. 
Denis  where  that  precious  master  with  his  disciples  rests  in  body,  and  over  which 
rules  the  abbot  Fulrad,  —  a  church  which,  by  the  aid  of  Christ,  we  [Charlemagne] 
built  anew,  and  ordered  to  be  dedicated  with  great  splendor."  "  A  third  states  that: 
"When  the  basilica  of  the  saints,  which  had  been  begun  by  King  Pippin  after  the  first 
church  was  detroyed,  had  been  rebuilt  in  greater  splendor  by  Charlemagne  his  suc- 
cessor .  .  .  and  when  the  tower  had  been  finished,  the  bells,  as  is  customary,  were 
hung."^  This  church  of  c.  780  with  its  bell  towers^  doubtless  stood  until  the 
middle  of  the  XII  century,  when  Suger  determined  to  erect  a  new  edifice.  That 
abbot  himself  has  left  us  no  less  than  two  works  relating  in  great  detail  the  story  of  this 
reconstruction;  of  these  it  is  possible  to  quote  here  only  a  few  of  the  more  significant 
passages:  —  "The  glorious  and  famous  king  of  the  Franks,  Dagobert,  .  .  .  with 
remarkable  generosity  ordered  that  the  church  of  the  saints  be  built  with  regal  munifi- 
cence, and  he  not  only  made  splendid  the  building  with  a  marvelous  variety  of  marble 
columns,  but  he  also  enriched  it  with  bountiful  treasures  of  the  purest  gold  and  silver, 
and  caused  to  be  hung  on  the  walls  and  columns  and  arches  tapestries  woven  with 
gold  and  adorned  with  many  sorts  of  jewels.  This  church,  as  far  as  its  ornaments 
went,  seemed  to  excel  all  others,  and  in  every  way  to  shine  with  incomparable  radi- 
ance, and  to  surpass  in  gorgeous  decoration  the  beauty  of  the  whole  world;  and  yet 
in  this  one  thing  alone  was  lacking,  that  it  did  not  have  the  large  dimensions  needful. 
Not  that  the  devotion  or  good  will  of  the  founder  was  in  any  way  blameworthy,  for 
doubtless  at  that  early  time  no  church  had  yet  been  built  greater,  or  even  as  great. 
.  .  .  Therefore,  with  the  help  of  God,  we  energetically  set  to  work  in  the  front  part 
of  the  church,  on  the  north  side  by  the  central  doorway  of  the  main  portal,  whose 
span  was  narrowed  on  both  sides  by  twin  towers,  for  these  towers,  not  high  nor  es- 
pecially beautiful,  threatened  ruin;  and  here  we  laid  very  firm  foundations  for  a  new 
entrance  and  new  twin  towers.  .  .  .  Meanwhile,  we  became  anxious  about  the  har- 
mony of  the  edifice,  fearing  that  a  lack  of  unity  between  the  old  and  the  new  work 
might  be  apparent.  Therefore  we  took  thought,  and  devised,  and  searched  through 
different  regions  of  remote  countries,  seeking  columns  of  marble  or  something  to  take 
their  place.  When  we  found  nothing,  one  resource  only  seemed  left  to  us  in  our 
perplexity,  and  that  was  to  have  columns  sent  to  us  from  the  city  (for  at  Rome  in  the 
Palace  of  Diocletian  and  in  the  other  baths  we  had  often  seen  wonderful  columns) 

'  Haec  domus  alma  dei  magno  est  renovata  decore, 

Ut  cernis,  lector,  tempore  quippe  suo.  — .\lcuini,  Carm.,  92. 

See  also  FardulB,  Carmiim  II,  4. 

^  ...  ad  ecclesiam  s.  Dionisii  ubi  ipse  praeciosus  Dominus  cum  sociis  suis  corpora  quies- 
cimt  et  venerabilis  \nr  Fulradus  abbas  praeesse  ^^detu^,  et  nos,  Christo  propitio,  a  novo  aedi- 
ficavimus  opere,  et  modo  cum  magno  decore  iussimus  dedicari.  —  Karl  d.  Gr.  Urk.  ttir  St.  Denis, 
775,  Febr.  25,  M.  175,  cit.  Schlosser,  211. 

^  Cum  basilicam  sanctorum  (diruta  priore,  quae  coepta  Pippino  rege)  augustius  a  Karolo 
regni  successore  consummata  est,  opifices  architectarentur,  unus  clavorum,  quibus  tecto  tabulae 
adfigebantm'  cecedit.  .  .  .  BasiHcae  fabrica  completa,  impositaque  turn,  in  qua  signa,  ut  moris 
est,  penderent.  .  .  .  —  Miracida  S.  Dionysii,  c.  14,  15,  cit.  Schlosser,  211. 

*  There  were  in  fact  two  towers  flanking  the  west  facade,  as  the  account  of  Suger  proves. 
See  below,  p.  198. 

194 


ST.    DENIS 

by  ship  through  the  Mediterranean  Sea  and  by  wa}'  of  England  and  the  tortuous 
windings  of  the  Seine;  for  thus  we  thought  to  obtain  them  at  the  expense  of  our  friends 
but  by  the  labor  of  our  enemies  the  Saracens.  .  .  .  [However,  by  a  miracle  a  quarry 
was  discovered  near  at  hand,  as  is  described  in  a  passage  here  omitted.]  .  .  .  When 
the  work  had  thus  been  practically  finished,  and  the  new  and  old  buildings  joined 
into  one,  then  we  laid  aside  the  great  fear  we  had  long  entertained  on  account  of  the 
threatened  ruin  of  the  old  construction,  and  we  jo^-fully  repaired  the  cracks  which 
had  appeared  in  the  capitals  and  bases  of  the  columns.  After  that  we  consulted  the 
local  carpenters  and  those  of  Paris  about  finding  beams  [for  the  roof],  but  all  replied 

—  as  they  thought,  truthfully  —  that  large  enough  beams  could  not  be  found  in  our 
country  owing  to  the  lack  of  forests,  but  that  they  must  be  brought  from  Auxerre. 
.  .  .  [Nevertheless,  by  another  miracle,  twelve  trees  of  sufiicient  size  were  found.] 
.  .  .  Constantly  encouraged  in  our  labor  by  such  and  so  manifest  tokens  of  divine 
favor,  we  energetically  pressed  on  to  the  completion  of  the  work,  until  at  last  the  new 
structure  was  ready  for  the  solemn  consecration  which  took  place  as  I  have  described 
above.  .  .  .  The  date  of  this  consecration  ...  is  commemorated  by  an  inscription, 
that  may  still  be  read  over  the  portal  (unless  it  has  become  effaced)  —  an  inscription 
whose  letters  we  gilded  in  the  honor  of  God  and  the  saints :  —  'It  was  in  the  year  one 
thousand  one  hundred  and  forty  of  the  Word,  when  this  was  consecrated. '  After 
that  .  .  .  consecration,  partly  because  our  zeal  was  kindled  by  its  own  happy  ac- 
complishments, partly  because  of  our  love  for  the  saints  who  had  so  long  been  op- 
pressed by  the  unbearably  small  size  of  the  church,  we  determined  to  abandon  the 
work  I  have  just  described;  to  defer  the  completion  of  the  towers  and  upper  parts; 
to  proceed  instead  to  enlarge,  according  to  the  best  of  our  ability,  the  main  body  of 
the  church,  in  which,  though  so  small,  divine  Providence  had  gathered  so  much  nobil- 
ity —  so  many  mighty  kings  and  pious  abbots ;  and  to  carry  out  this  reconstruction 
in  a  manner  as  logical  and  beautiful  as  could  be  done.  And  we  communicated  this 
thought  to  our  very  devoted  brothers,  'whose  hearts  straightway  burned  with  Jesus 
while  he  talked  to  them  by  the  way,' '  and  after  deliberation  with  them,  by  the 
inspiration  of  God,  we  decided  that,  because  of  that  dedication  which,  as  the  blessed 
scriptures  bear  witness,  God  has  decreed  shall  take  place  when  a  church  has  been 
enlarged  —  even  though  it  had  formerly  been  consecrated,  —  we  should  remove  for 
a  time  the  relics  from  the  ancient  choir  and  begin  to  ennoble  with  the  beauty  of  length 
and  breadth  the  church  that,  under  the  pressure  of  such  urgent  necessity,  we  had 
begun  to  build  anew.  And  after  deliberation  it  was  agreed  that  that  higher  part 
that  stood  above  the  apse  and  contained  the  bodies  of  our  masters,  the  saints,  should 
be  renewed  as  far  as  the  upper  part  of  the  vault  of  the  cr^'pt  on  which  it  stood.  .  .  . 
It  was  planned  with  the  greatest  nicety  by  means  of  arithmetical  and  geometrical 
instruments  to  make  the  length  of  the  arches  of  the  main  arcade  —  that  is,  the  dis- 
tance between  the  bases  of  the  great  piers  (these  piers  rested  on  the  piers  of  the  crj'pt) 

—  the  same  in  the  new  addition,  as  in  the  ancient  nave  of  the  church,  so  that  there 
might  be  no  unpleasant  contrast  between  the  larger  bays  of  the  older  portions  of  the 
edifice  and  the  smaller  bays  of  the  new;  however,  we  introduced  a  beautiful  and 

'  Luke  xxiv.  32. 
195 


TRANSITIONAL   MONUMENTS 

praiseworthy  inilovation  in  the  circle  of  chapels,  i.e.,  the  ambulatory,  which  at  pres- 
ent causes  the  whole  interior,  bathed  in  the  wonderful  and  graduated  light  shed  by 
the  holy  windows,  to  shine  in  beauty.  .  .  .  Fearing  lest  God  should  justly  complain 
of  us  'thine  eyes  did  see  my  substance  being  yet  imperfect,' '  we  hurried  the  work 
on,  at  great  expense,  employing  summer  and  winter  a  large  number  of  workmen,  and 
at  length,  by  divine  aid,  we  finished  it.  .  .  .  Nor  did  we  think  that  we  ought  to  re- 
main silent  in  regard  to  the  following  fact.  When  the  walls  of  the  new  addition  had 
been  carried  up  to  their  full  height,  —  that  is  to  the  level  of  the  capitals  of  the 
vaulting  shafts  —  but  while  the  ribs  were  still  standing  by  themselves  and  had  not 
yet  been  reinforced  by  the  construction  of  the  vault,  a  terrible  and  unendurable 
tempest  arose,  with  dark  masses  of  clouds  and  floods  of  rain  and  a  sudden,  most 
powerful  rush  of  wind.  And  this  storm  increased  in  violence  so  that  it  blew  down 
stout  houses  and  even  stone  towers  and  wooden  battlements.  During  this  tempest, 
which  occurred  on  the  anniversary  of  the  glorious  king  Dagobert,  Ganfred,  the 
venerable  bishop  of  Chartres,  was  celebrating  a  high  mass  for  the  repose  of  that 
monarch's  soul  at  the  principal  altar  of  the  abbey,  when  there  came  such  a  force  of 
opposing  winds  dashing  against  the  arches,  which  were  in  no  way  propped  up,  nor 
supported  by  any  scaffolding,  that  shaking  miserably  and  swaying  backwards  and 
forwards  they  menaced  sudden  and  disastrous  ruin.  But  when  the  bishop  perceived 
that  the  walls  were  in  danger  of  falling  he  many  times  extended  his  hand  in 
benediction  towards  that  part  of  the  church,  and  courageously  raised  his  arm 
against  the  blast,  making  the  sign  of  St.  Simeon,  since  manifestly  no  firmness  of 
his  own,  but  only  the  mercy  of  God  and  the  merit  of  the  saints  could  avert  the 
impending  ruin.  And  lo!  although  much  damage  was  done  to  many  neighboring 
buildings,  placed,  it  was  believed,  in  the  safest  places,  but  not  protected  by  divine 
favor,  no  mischief  befell  the  new  arches  of  the  abbey  trembling  at  the  height  of  the 
sun.  At  length  the  end  of  our  arduous  labor  made  fitting  a  new  consecration  of 
the  church  .  .  .  and  .  .  .  we  decided  that  this  should  take  place  upon  the  second 
Sunday  of  June,  which  fell  upon  the  11th  day  of  the  month,  [1144]."^ 

1  Psalms  cxxxix,  16. 

2  Gloriosus  et  famosus  rex  Francorum  Dagobertus  .  .  .  basilicam  sanctorum  regia  muni- 
ficentia  fabricatum  iri  afi'ectu  mirabili  imperaWt.  Quam  cum  mirifica  marmorearum  colum- 
narum  varietate  componens,  copiosis  purissimi  auri  et  argenti  thesauris  inaestimabiliter 
locupletasset,  ipsiusque  parietibus  et  columnis  et  arcubus  auro  tectas  vestes,  margaritarum 
varietatibus  multipliciter  exornatas,  suspend!  fecisset,  quatinus  alfarum  ecclesiarum  ornamentis 
praecellere  videretur,  et  omni  modis  incomparabili  nitore  vernans,  et  omni  terra  pulchritudine 
compta  inaestimabili  decore  splendesceret,  hoc  solum  ei  defuit,  quod  quam  oporteret  magni- 
tudinem  non  admisit.  Non  quod  aliquid  ejus  devotioni  aut  voluntati  deeset,  sed  quod  forsitan 
tunc  temporis  in  primitiva  ecclesia  nulla  adhuc  aut  major  aut  aequalis  existeret.  .  .  .  Quia 
igitur  in  anteriori  parte,  ab  aqilone,  principal!  ingressu  principalium  valvarum,  porticus  arctus, 
hinc  et  inde  geniellis,  nee  altis,  nee  aptis  multum,  sed  minantibus  ruinam,  turribus  angebatur, 
ea  in  parte  initio  directae  testitudinis  et  geminarum  turrium  robusto  valde  fundamento  materiali 
.  .  .  laborare  strenue  Deo  cooperante  incoepimus.  ...  In  agendis  siquidem  hujus  modi,  ap- 
prime  de  convenientia  et  cohaerentia  antiqui  et  noW  operis  sollicitus  unde  marmoreas  aut  mar- 
moreis  aequipollentes  haberemus  columnas,  cogitando,  speculando,  investigando  per  diversas 
partium  remotarum  regiones,  cum  nullam  offenderemus,  hoc  solum  mente  laborantibus  et  animo 
supererat,  ut  ab  urbe  (Romae  enim  in  palatio  Diocletiani  et  aliis  termes  [lege,  thermis]  saepe 

196 


ST.    DENIS 

Equally  significant  is  the  account  of  the  building  of  St.  Denis  that  Suger  has  left 
us  in  his  works  on  his  administration.  I  translate  some  of  the  more  important 
passages  beginning  with  Section  XXV :  —  "Now  .  .  .  on  festivals,  such  as  those  of  St. 

mirabiles  conspexeramus)  ut  per  mare  Mediterraneum,  tuta  classe,  e.xinde  per  AngHcum  et  per 
tortuosam  flu\'ii  Sequanae  reflexionem,  eas  magno  sumptu  amicorum,  inimicorum  etiam 
Sarracenorum  proximorum  conduetu  haberemus.-  .  .  .  Peracto  siquidem  magna  et  parte  opere, 
et  compactis  no^i  et  antiqui  aedificii  tabulatis,  magnoque  deposito  quem  diu  habueramus  timore, 
propter  illas  patulas  antiquarum  maceriarum  rimas,  magnorum  capitellorum  et  basium 
columnas  deportantium  disruptionem  exhilarati,  deaptare  sollicitabamur.  Cumque  pro  trabium 
inventione  tarn  nostros  quam  Parisienses  lignorum  artifices  consulmssemus,  responsum  nobis 
est  pro  eorum  existimatione  verum,  in  finibus  istis  propter  silvanim  inopiam  minime  inveniri 
posse,  vel  ab  Autissiodorensi  pago  necessari  devehi  oportere.  .  .  .  Tantis  itaque  et  tarn  mani- 
festis  tantorum  operum  intersigniis  constanter  animati,  ad  praefati  perfectionem  aedificii  instanter 
properantes,  quomodo  et  quibus  personis  et  quod  valde  solemniter  Deo  omnipotenti  con- 
secraretur  .  .  .  decantabamus.  .  .  .  De  termino  vero  haec  est  veritatis  consistentia,  sicut 
legitur,  si  tamen  non  obscuretur,  in  aureo  super  portas  quas  ad  honorem  Dei  et  sanctorum 
deauratas  fieri  fecimus,  epitaphio: 

Annus  millesimus  centenus  et  quadrageuus 
Annus  erat  verbi,  quando  sacrata  fuit. 

Igitur  post  illam  .  .  .  consecrationem,  nostra  qua  tarn  ex  ipsa  sui  prosperitate  anima- 
batur  devotio,  quam  ipsa  cura  sanctormn  quos  tanto  tempore  tarn  intolerabiUter  opprimebat 
coarctatio,  votum  nostrum  illo  convertit:  ut  praefato  vacantes  open,  turriumque  differendo 
prosecutionem  in  superiori  parte,  augmentationi  matris  ecclesiae  operam  et  impensam  pro  toto 
posse,  pro  gratiarum  actione,  eo  quod  tantillo  tantorum  regum  et  abbatum  nobilitati  succedenti 
tantum  opus  divina  dignatio  reservasset,  quam  decentius,  quam  gloriosus  rationabiHter  effici 
possit  fieri  innitercmur.  Communicato  siquidem  cum  fratis  nostris  bene  devotis  consilio  quorum 
"cor  ardens  de  Jesu  dum  loqueretur  eis  in  via"  hoc  Deo  inspirante  deliberando  elegimus,  ut 
propter  earn  quam  diWna  operatio,  sicut  veneranda  scripta  testantur,  propria  et  manuali  exten- 
sione  ecclesiae  consecrationi  antiquae  imposuit  benedictionem,  ipsis  sacratis  lapidibus  tanquam 
reliquiis  deferremus,  illam  quae  tanta  exigente  necessitate  novitas  inchoaretur,  longitudinis  et 
latitudiuis  pulchritudlne  inniteremur  nobilitare.  Consultati  siquidem  decretum  est  illam  al- 
tiori  inaequalem,  quae  super  absidem  sanctorum  dominorum  nostrorum  corpora  retinentem 
operiebat,  renovari  voltam  usque  ad  superficiem  criptae  cui  adhaerebat.  .  .  .  Pro\isum  est 
sagiciter  ut  superioribus  columnis  et  arcubus  mediis  qui  in  inferioribus  in  cripta  fundatis  super- 
ponerentur,  geometricis  et  aritmeticis  instrumentis  medium  antiquae  testitudinis  ecclesiae 
augmenti  novi  medio  aequaretur,  nee  minus  antiquarum  quantitas  aliarum  novarum  quantitati 
adaptaretur;  excepto  illo  urbano  et  approbate  in  circuitu  oratorium  incremento,  quo  tota 
sacratissimanun  vitrearmn  luce  miribili  et  continua  interiorem  perlustrante  pulchritudinem 
eniteret  .  .  .  Insistentes  igitur  per  triennium  multo  sumptu,  populoso  operariorum  conventu, 
aestate  et  hieme,  operis  perfectioni,  ne  nobis  conqueri  Deo  "Imperfectum  meum  N-ideruut  oculi 
tui"  jure  oporteret,  admodum  ipso  cooperante  proficiebamus.  .  .  .  Nee  illud  etiam  silere  dignum 
duximus,  quod  dum  praefatum  novi  augmenti  opus  capitellis  et  arcubus  superioribus  et  ad  alti- 
tudinis  cacumen  produceretur,  cum  necdum  principales  arcus  singulariter  veluti  voltarum  cum- 
ulo  cohaererent,  terribilis  et  pene  tolerabiHs  obnubilatione  nubium  inundatione  imbrium,  impetu 
validissimo  ventorum  subito  tempestatis  exorta  est  procella;  quae  usque  adeo  invaluit  ut  non 
solum  vaudas  domes,  sed  etiam  lapideas  turres  et  ligneas  tristegas  concusserit.  Ea  tempestate, 
quadam  die  anniversario  gloriosi  Dagoberti  regis,  cum  venerabilis  Camotensis  episcopus  Gan- 
fredus  missas  gratiarum  pro  anima  ejusdem  in  conventu  ad  altare  principale  festive  celebraret, 
tantus  oppositorum  ventorum  impetus  praefatos  arcus  nullo  suffultos  podio,  nullis  renitentes 
suffragiis  impingebat,  ut  miserabUiter  tremuh,  et  quasi  hinc  et  inde  fluctuantes  subito  pestiferam 

197 


TRANSITIONAL   MONUMENTS 

Denis  or  of  Lendit '  and  many  others,  the  inadequacy  of  our  church  was  very  appar- 
ent, for  owing  to  the  small  size  of  the  building  the  women  in  order  to  reach  the  altar 
were  forced  to  walk  upon  the  heads  of  the  men  as  upon  a  pavement,  all  of  which  caused 
great  inconvenience  and  a  loud  uproar.  Therefore  I  undertook  to  enlarge  the  abbey, 
notwithstanding  that  it  was  a  noble  structure  consecrated  by  the  divine  hand;  but 
before  doing  so  I  sought  the  advice  of  wise  men  and  the  prayers  of  many  monks,  being 
fearful  lest  haply  such  an  act  might  be  displeasing  to  God  and  the  holy  martyrs.  .  .  . 
We  commenced  work  at  the  entrance  portals,  tearing  down  a  certain  addition  which 
had  been  erected  with  funds  donated  by  Charlemagne  on  an  appropriate  occasion, 
and,  as  shall  appear  hereafter,  we  continued  to  labor  incessantly  at  enlarging  the 
principal  gable,  the  triple  entrance  portal,  and  the  high  stout  towers.  .  .  .  And  we 
summoned  skilled  modelers  and  sculptors,  who  erected  the  central  doors  in  which 
were  sculptured  the  passion,  the  resurrection,  and  the  ascension;  and  these  statues 
we  caused  to  be  gilded  at  great  expense,  as  was  suitable  for  a  monumental  entrance. 
And  we  hung  new  doors  in  the  right  hand  portal,  but  in  the  left  hand  portal  we  re- 
tained the  old  doors  underneath  the  mosaic,  which  contrary  to  custom,  we  had  made 
anew  and  placed  in  the  tympanum  of  the  arch.  Furthermore  we  caused  the  tower  and 
the  upper  part  of  the  gable  to  be  ornamented  in  many  colors,  partly  for  decoration, 
and  partly  because  this  was  useful  and  fitting;  and  that  the  year  of  the  consecration 
might  not  be  forgotten,  we  inscribed  the  following  legend  over  the  portal  in  letters 
gilded  with  copper:  —  'For  the  adornment  of  the  church  which  nourished  and 
educated  him,  Suger  labored.  One  of  thy  monks,  and  a  follower  of  thee,  St.  Denis, 
he  prays  that  thou  ask  for  him  a  share  in  Paradise.  It  was  the  year  of  the  word  one 
thousand,  one  hundred  and  forty,  when  this  was  consecrated.'  In  the  same  year, 
encouraged  by  so  holy  and  successful  a  labor,  we  began  to  enlarge  the  farther  part 
of  the  house  of  the  Lord  {i.e.,  the  choir)  in  which  it  had  often  been  necessary  to  cel- 
ebrate in  secret  the  sacraments  of  our  Judge  and  Redeemer,  that  these  might  not  be 
profaned  by  the  disturbance  of  the  multitude.  .  .  .  How  efficaciously  the  hand  of 
God  rules  in  such  matters,  is  certainly  proved  by  the  fact  that  such  a  glorious  work 
as  this  entire  magnificent  building  was  completed  in  three  years  and  three  months 
from  the  cr\'pt  below  to  the  topmost  summit  of  the  vault,  together  with  its  great  vari- 
ety of  arches  and  columns.  .  .  .  When  it  had  been  finished  the  inscription  recording 
the  former  consecration  was  changed  in  one  word  only,  and  the  couplet  was  made 
to  conclude  thus :  —  'It  was  the  year  of  the  word  one  thousand  one  hundred  and 
forty-four,  when  this  was  consecrated.'  "...  After  this,  when,  according  to  the  per- 

minarentur  ruinam.  Quorum  quidem  operturarumque  impulsionem  cum  espiscopus  expaves- 
ceret,  saepe  manum  benedictionis  in  ea  parte  extendebat,  et  brachum  sancti  senis  Simeonis 
signando  instanter  opponebat,  ut  manifeste  nulla  sui  constantia,  sed  sola  Dei  pietate  et  Sanctorum 
merito  ruinam  evadere  appareret.  Sicque  cum  multis  in  locis  firmissimis,  ut  putabatur,  aedi- 
fieiis  multa  ruinaruni  incommoda  intulisset,  virtute  repulsa  di%'ina,  titubantibus  in  alto  solis 
et  recentibus  arcubus  nihil  proferre  praevaluit  incommodi.  .  .  .  Urgebat  deinceps  novae  fieri 
consecrationem  ecclesiae  tarn  operis  laboriosa  consummatio  quam  nostra  .  .  .  et  .  .  .  diem 
agendi  secunda  junii  dominica,  %'idelicet  III  idus  .  .  .  consulte  assignavimus.  —  Sugerii,  De 
Consecraiione  II-VI,  passim. 

'  A  fair  held  at  St.  Denis  on  the  11th  of  June. 

198 


ST.    DENIS 

suasion  of  some,  we  should  have  turned  our  energy  to  finishing  the  tower  of  the  west 
fa9ade,  whose  lower  portions  had  been  already  completed,  the  will  of  God  (as  we  think) 
induced  us  instead  to  begin  to  rebuild  and  make  harmonious  with  the  new  work  on 
either  side  the  middle  part  of  the  church,  which  is  called  the  nave.  Nevertheless, 
we  preserved  a  certain  portion  of  the  ancient  walls,  —  those  parts  on  which  the  high- 
est priest,  the  Lord  Jesus  Christ,  placed  his  hand,  according  to  the  witness  of  writers 
of  old;  and  thus,  while  reverencing  the  ancient  construction,  we  made  the  old  work 
harmonious  with  the  new.  .   .  .'     Of  the  church  immortalized  by  the  descriptions  of 

•  XXV.  Verum,  cimi  jam  hoc  ipsam  multo  sumptu  compleretur,  inspirante  divine  mutu, 
propter  earn  quam  saepe  diebus  festis,  videlicet  in  festo  beati  Dionysii  et  in  Indicto,  et  in  aliis 
quam  plurimis,  et  videbamus  et  sentiebamus  importunitatem  (exigebat  enim  loci  angustia  ut 
mulieres  super  capita  virorum,  tamquam  super  pavimentum,  ad  altare  dolore  multo  et  clamoso 
tumultu  currerent),  ad  augmentandum  et  amplificandum  nobile  maniique  divina  consecratum 
monasterium,  virorum  sapientium  consilio,  religiosorum  multorum  precibus,  ne  Deo  sanctisque 
Martyribus  displicerat,  adjutus,  hoc  ipsiun  incipere  aggrediebar.  .  .  .  Accessimus  igitur  ad 
priorem  valvarum  introitum  et  deponentes  augmentum  quoddam,  quod  a  Karolo  Magno  factum 
perhibebatur  honesta  satis  occasione  .  .  .  ibidem  manum  apposuimus  et  quemadmodum  ap- 
paret,  et  in  amplificatione  corporis  ecclesiae,  et  introitus  et  valvarum  triplicatione,  turrium  al- 
tarum  et  honestarum  erectione  instanter  desudavimus.  XXVII.  Valvas  siquidem  principales, 
accitis  fusoribus  et  electis  sculptoribus,  in  quibus  passio  Salvatoris  et  resurrectio  vel  ascensio 
continetur,  multis  expensis,  multo  sumptu  in  earum  deauratione,  ut  nobili  porticui  conveniebat, 
ereximus.  Necon  et  alias  in  dextera  parte  novas,  in  sinistra  vero  antiquas  sub  musivo,  quod  et 
novum  contra  usum  hie  fieri  et  in  arcu  portae  imprimi  elabora\'imus.  Turrim  etiam  et  supe- 
riora  frontis  propugnaeula,  tam  ad  ecclesiae  decorem  quam  et  utilitatem  si  opportunitas  exigeret, 
variari  condiximus;  litteris  etiam  cupro  deauratis  consecrationis  annum  intitulari,  ne  oblivioni 
traderetur  praecepimus  hoc  modo : 

Ad  decus  ecclesiae,  quae  fovit  et  extulit  ilium, 

Sugerius  studuit  ad  decus  ecclesiae. 
Deque  tuo  tibi  participans,  martyr  Dionysi, 

Orat  ut  exores  fore  participem  Paradisi. 
Annus  millenus  et  centenus  quadragenus 

Annus  erat  verbi,  quando  sacrata  fuit. 

XXVIII.  Eodem  vero  anno,  tam  sancto  et  tam  fausto  opere  exhilarati,  ad  inchoandam  in  supe- 
riori  parte  divinae  propitiationis  cameram,  in  qua  jugis  et  frequens  redemptionis  nostrae  hostia 
absque  turbarum  molestia  secreto  immolari  debeat,  acceleravimus.  .  .  .  Quod  quidem  glori- 
osum  opus  quantum  divina  manus  in  talibus  operosa  protexerit,  certum  est  etiam  argumentum, 
quod  in  tribus  annis  et  tribus  mensibus  totum  illud  magnificum  opus,  et  in  inferiore  cripta  et 
in  superiore  voltarum  sublimitate,  tot  arcuum  et  columnarum  distinctione  Variatum,  etiam  oper- 
turae  integrum  supplementum  admiserit.  Unde  etiam  epitaphium  prioris  consecrationis  una 
sola  sublata  dictione,  hujus  etiam  annalem  terminum  concludit  hoc  modo: 

Annus  millenus  et  centenus  quadragenus 
Quartus  erat  Verbi  quando  sacrata  fuit. 

.  .  .  Quo  facto  cum  quorumdam  persuasione  ad  turrim  anterioris  partis  prosecutionem  studium 
nostrum  contulissemus,  jam  in  altera  parte  peracta,  divina,  sicut  credimus,  voluntas  ad  hoc 
ipsum  nos  retraxit,  ut  mediam  ecclesiae  testitudinem,  quam  dicunt  navim,  innovare  et  utrique 
innovato  operi  conformare  et  coaequare  aggrederemur;  reservata  tamen  quantacumque  portione 
de  parietibus  antiquis,  quibis  summus  pontifex  Dominus  Jesus  Christus  testimonio  antiquorum 
scriptorum  manum  apposuerat,  ut  et  antiquae  consecrationis  reverentia,  et  modemo  operi  juxta 
tenorem  coeptum  congrua  cohaerentia  servaretur.   .   .   .  XXXIV.     Chorum   etiam   fratrum, 

199 


TRANSITIONAL   MONUMENTS 

Suger,  there  survive  only  the  facade  and  the  ambulatory,  —  the  latter  contains  the 
earliest  known  example  of  broken^  rib  vaults,  —  the  remainder  of  the  edifice  having 
been  destroyed  when  the  upper  portions  of  the  choir  and  the  nave  were  rebuilt  c.  1231. 
This  reconstruction  of  the  XIII  century,  if  it  is  responsible  for  the  loss  of  the  price- 
less work  of  Suger,  has  still  left  us  one  of  the  subhme  masterworks  of  Gothic  art.  The 
glazed  triforium  is  perhaps  the  earliest  extant  example  of  such  a  construction;  the 
beautiful  window  tracery  is  almost  rayonnant  in  style;  all  the  details  are  of  exqui- 
site perfection.     The  ancient  north  tower  was  torn  down  in  18-13.     (^'on  Bezold.) 

SENS,  Yonne.  Eglise  Metropolitaine  St.  Eticnne.  (III.  168,  179,  192.)  The 
documentary  evidence  for  the  date  of  this  cathedral  is  slight.  It  is  known  that  in 
1124  the  archbishop  Henri -le-Sangher  commenced  a  reconstruction  of  the  edifice;  ^ 
that  the  nave  must  have  been  tenantable  in  1140,  since  the  council  which  condemned 
Abelard  here  met;  that  in  1163  the  pope  Alexander  III  consecrated  the  altar;  ^  and 
that  in  1184  the  city  was  ravaged  by  a  fire,  which,  however,  there  is  no  particular 
reason  to  suppose  damaged  the  cathedral.  From  this  scanty  information  it  would 
be  natural  to  conclude  that  the  rebuilding  begun  in  11^24  was  far  advanced  by  1140, 
and  finished  about  1163;  but  a  passage  in  Gallia  Christiana^  flatly  contradicts  this, 
stating  that  works  were  begun  in  1140.  Internal  evidence  strongly  supports  the 
latter  authority,  for  the  lower  portions  of  the  monument  are  clearly  about  contem- 
porary with  St.  Denis,  as  has  been  recognized  b}'  VioUet-le-Duc,  M.  Lefe^Te-Pontalis, 
Herr  von  Bezold,  and  many  other  archaeologists.  The  vaults,  the  clearstory,  and  the 
western  facade,  however,  seem  to  have  been  reconstructed  later,  about  the  middle  of 
the  XIII  century,  doubtless  in  consequence  of  a  fire,  some  traces  of  which  are  still 
visible.  The  original  edifice  consisted  of  a  nave,  two  side  aisles,  a  choir,  a  chevet, 
an  ambulatory,  and  a  single  eastern  lady  chapel  —  the  last  a  distinctly  Burgundian 
feature.  AVhether  transepts  existed  in  the  XII  century  is  doubtful.  On  the  one 
hand  the  existing  transepts,  flamboyant  in  style,  are  doubtless  of  the  XV  century, 
furthermore,  according  to  !M.  Vaudin-Bataille,^  excavations  of  1866  brought  to  light 
the  foundations  of  an  intermediate  pier  placed  upon  their  axis  —  a  fact  which  would 
seem  to  prove  that  the  present  transepts  replace  a  double  bay  of  the  original  nave. 
This  evidence  is  supported  by  the  design  of  the  piers  of  the  crossing,  which  is 
identical  with  that  of  the  regular  alternate  piers.  On  the  other  hand,  if  this  view 
is  accepted,  a  difficulty  arises  in  regard  to  the  transeptal  chapels,  one  of  which  (the 
northern)  dates  from  the  XIII  century,  since  it  is  not  clear  how  these  could  have  been 
adjusted  to  a  plan  without  transepts.  The  system  of  the  nave  is  alternate  throughout, 
the  heavy  supports  consisting  of  piers  with  five  continuous  shafts,  the  intermediate 

quo  valde  gravabantur,  qui  assidue  ecclcsiae  insistebant  servitio,  frigiditate  marmoris  et  cupri 
aliquantis  per  infirmum,  in  banc  quae  nunc  apparet  formam,  laboribus  eorum  compatientes, 
mutavimus,  et  propter  conventus  augmentationem.  Deo  auxiUante,  augmentare  elaboravimus. 
—  Sugerii,  De  Rebus  in  sua  Adminisiraiione  qestis  XXV-XXXIY,  passim. 

1  Henricus  incipit  renovare  ecclesiam  sancti  Stephani.  —  Chronique  de  Clarius,  wrongly 
entitled  Chronique  d'Odoranne,  MS.  in  the  Bibliotheque  Richelieu,  cit.  Vaudin-Bataille,  Cath. 
de  Sens,  p.  2. 

2  Ibid.,  cit.  Vaudin-Bataille,  p.  I. 

3  Xn,  47.  ■*  Caih.  de  Sens,  p.  11. 

200 


MONUMENTS   OF  THE   FIRST   CLASS 

supports,  of  columns  coupled  in  the  longitudinal  sense,  carrying  a  single  shaft  upon 
their  abaci.  The  vaults  are  sexpartite;  the  stilted  wall  rib  is  furnished  with  a  double 
set  of  capitals.  In  the  chevet,  where  difficulties  arose  in  raising  the  vault  in  the  XIII 
century,  the  wall  rib  has  as  many  as  three  sets  of  capitals,  and  is  strangely  distorted. 
Most  interesting  are  the  vaults  of  the  ambulatory;  the  ribs  are  broken,  as  at  St.  Denis, 
but  the  execution  is  far  more  crude;  on  the  outside  wall  no  provision  is  made  to  carry 
the  diagonal  ribs,  which  rest  on  corbels  placed  just  above  the  main  capitals;  the 
wall  ribs  have  a  segmental  form,  their  capitals  being  placed  lower  than  those  of  the 
transverse  ribs.  All  the  aisle  vaults  are  highly  domed.  In  the  western  portions  of 
the  church,  the  details  —  capitals,  etc.,  —  added  in  the  reconstruction  of  the  XIII 
century,  are  of  remarkable  delicacy  and  beauty,  even  for  Gothic  work.  The  flying 
buttresses  of  this  cathedral  are  somewhat  puzzling:  obviously,  they  cannot  be  as  early 
as  1140,  nor  do  they  seem  sufficiently  advanced  in  style  to  belong  to  the  reconstruc- 
tion of  the  XIII  century.  Since,  however,  they  were  copied  at  Canterbury  in  1174, 
it  is  reasonable  to  suppose  they  were  erected  shortly  before  that  time,  perhaps  c.  1160. 
(Vaudin-Bataille.) 

NOYON,  Oise.  Eglise  Caihedrale  Notre  Dame.  (111.  176,  180,  204,  210,  211, 
252.)  The  cathedral  of  Noyou  was  burned  in  1131,  as  is  known  from  two  ancient 
sources.  The  first,  a  passage  in  the  "Chronicle  of  Sigebert"  written  by  a  monk  of 
Ourscamp  in  the  second  half  of  the  XII  century,  records  that  "the  episcopal  church 
of  St.  Mary  was  burned  in  1131  with  nearly  all  the  city  of  Noyon;  —  a  deserved  mis- 
fortune, it  is  said,  because  many  of  the  inhabitants  had  derided  Pope  Innocent  with 
mocking  words. "^  The  second  source  is  two  letters  written  by  Innocent  II  on  the 
27th  of  June,  1131,  one  to  Henri,  archbishop  of  Sens,  and  the  other  to  Hugh,  arch- 
bishop of  Rouen,  urging  these  prelates  to  come  to  the  aid  of  Simon  of  Verman- 
dois,  bishop  of  Noyon,  and  send  him  funds  to  raise  from  its  ruins  his  cathedral  church. 
I  translate  the  most  important  passage  of  the  first  letter:  "What  recently  occurred 
at  Noyon  for  the  purging  of  sin,  when  the  episcopal  and  mother  church,  together 
with  the  episcopal  palace  was  burned  with  fire,  we  believe  is  not  unknown  to  you. 
Since,  therefore,  in  so  great  a  calamity  we  ought  to  sympathize  and  to  minister  aid 
with  a  brotherly  sense  of  pity,  in  the  name  of  God,  we  exhort  you  and  your  diocese, 
and  we  enjoin  upon  you  for  the  remission  of  your  sins,  that  you  send  aid  to  the  said 
church  from  the  resources  granted  you  by  God,  that  the  same  may  be  repaired  for 
the  honor  and  the  service  of  Christ."  "     Thus  there  can  be  no  question  that  the  church 

'An.  dni.  1131.  Ecclesia  pene  sancte  Marie  in  epic  totaq.  pene  ciiiitas No\'iomensis in- 
cendio  coflagrauit  iusto  (ut  fert)  infortunio;  quia  summu  pontifice  Innoceutiu  verbjs  irrisorijs 
multi  illofu  exhonorauerunt.  —  Sigeb.,  Chron.,  116,  cit.  Inkersley. 

-  Certerum  quid  apud  Novionum  peccatis  exigentibus  nuper  contigerit  quomodo  episco- 
paUs  et  mater  ecclesia  cum  domibus  episcopalibus,  incendio  sunt  crematae,  delictionem  vestram 
credimus  non  latere.  Quia  igitur  tante  calamitati  misericorditer  compati  et  pietatis  affectu  fra- 
tema  suffragia  ministrare  debemus,  universitatem  vestram  per  presentia  scripta  exhortamur 
in  Domino  atque  in  remissionem  peccatorum  injungimus,  ut  ad  praefatam  ecclesiam  ad  honorem 
et  servitium  Domini  reparandum  de  facultatibus  vobis  a  Deo  collatis  solatia  transmittatis.  — 
Arch,  de  I'Oise,  G.  1984,  fol.  54  vo.  cit.  Lefevre-Pontalis,  Hist,  de  la  Caih.  de  Noyon,  p.  16.  See 
for  the  second  letter  Le  Vasseur,  Annales  de  I'Eglise  caihedrale  de  Noyon,  p.  852. 

201 


TRANSITIONAL   MONUMENTS 

was  destroyed  in  1131.  It  is,  however,  by  no  means  so  clear  that  the  reconstruction 
was  immediately  begun,  for  the  ohoir  does  not  seem  to  have  been  consecrated  until 
1157  —  at  least  the  relics  were  brought  back  into  the  church  at  this  date'  —  and,  to 
judge  from  the  style,  no  considerable  part  of  the  existing  edifice  can  be  earher  than 
c.  1150.  Was  the  cathedral  destroyed  a  second  time  in  1153  by  the  fire  which  rav- 
aged the  city  in  that  year .- '  M.  St.  Paul  thinks  that  such  an  hypothesis  is  unneces- 
sary: he  believes  that  the  choir  was  begun  about  1135:  that  works  were  energetically 
carried  forward  so  that  the  eastern  portions  of  the  edifice  were  finished  c.  1140:  but 
that  meanwhile  a  more  ambitious  plan  of  rebuilding  had  been  determined  upon:  and 
that  this  necessitated  the  reconstruction  of  the  entire  chevet  c.  1150.  He  finds  "nota- 
ble fragments"  of  the  earher  choii  still  existing;  —  "fragments  of  a  very  advanced 
Romanesque  style  which  could  not  be  earlier  than  the  fire  [of  1131]."  At  all  events, 
aside  from  this  scanty  debris  of  an  earlier  construction,  whatever  it  mav  have  been, 
the  existing  chevet  is  unquestionably  a  work  from  c.  1150-57.  To  judge  from  in- 
ternal evidence  the  southern  and  then  the  northern  transept  must  have  been  next 
attacked,  the  latter,  according  to  !M.  Lefe\Te-Pontalis,  being  completed  c.  1170.  The 
two  eastern  bays  of  the  nave,  which  were  doubltess  constructed  immediately  after- 
wards, M.  Lefe\Te-Pontalis  is  doubtless  correct  in  assigning  to  c.  1174.  Since  there 
is  a  marked  difference  of  style  between  the  second  bay  and  the  western  portions 
of  the  nave,  it  is  reasonable  to  believe  that  works  were  interrupted  at  this  point  until 
about  1180.  After  this  date,  however,  they  must  have  been  pushed  with  vigor,  for 
a  charter  of  1185  ^  records  that  the  bishop  made  an  elaborate  contract  for  having  the 
church  cleaned  from  pavement  to  vault.  Yet  the  westernmost  bay  of  the  nave,  the 
porch,  and  the  great  southern  tower  were  completed  only  in  1221,  although  even  in 
these  constructions  of  the  XIII  century,  the  round  arch  was  retained  in  the  galleries 
and  lower  parts.  In  1240  the  chapter-house  and  cloister  were  begim.  Towards 
the  end  of  the  XTTT  century  a  great  disaster  befell  the  church:  "In  the  year  of  the 
incarnation  of  the  Lord  1293  in  the  month  of  July  and  on  Monday  the  20th  day  of 
the  month  at  four  o'clock  in  the  morning  there  began  a  fire  in  the  town  of  Noyon, 
and  from  the  said  morning  until  the  afternoon  of  the  following  Tuesday,  the  church 
of  Notre  Dame  of  Noyon  and  the  other  churches  and  whatever  was  within  the  walls 
of  the  city  all  were  burnt  and  reduced  almost  to  ashes,  except  the  house  of  the  Tem- 
plars and  the  little  church  of  the  apostle  St.  Peter."*  WiUiam  of  Naugis  gives  a 
slightly  different  account  of  this  fire:  "In  the  month  of  July  [1293]  Noyon.  a  city  of 
Gaul,  was  entirely  burned  with  fire  except  the  abbeys  of  St.  Eloi  and  St.  Barthol- 

'  Le  Vasseur,  op.  cit.,  p.  815;  Gallia  Christiana  X,  Instru.  col.  383. 

=  Lefevre-Pontalis,  Hist,  de  la  Ccdh.  de  Xoyon,  p.  22. 

3  Arch,  de  I'Oise,  G.  1984,  fol.  195  vo. 

*  Anno  incamationis  Domini  M°  CC°  XC°  111°  mense  Julio,  XIU  Calendas  Augusti, 
feria  secunda,  in  aurore  coepit  ignis  in  ci\itate  Xoviomensi,  et  a  dicta  aurora  usque  in  meridiem 
feriae  tertiae  sequentis,  ecdesia  Beatae  Mariae  Xoviomensis  et  aliae  ecclesiae  et  quidquid  infra 
mUTOs  civitatis  continebatur  omnia  combusta  sunt  et  quasi  in  puJverem  reducta,  exceptis  domi- 
bus  templarioruin  et  excepta  parvula  ecclesia  Beati  Petri  apostoli.  —  Mss.  now  lost  but  copied 
by  Le  Vasseur,  Annates  de  FEglise  Cath.  de  Noyon,  p.  841,  and  cited  by  Lefevre-Pontalis,  Hist, 
de  la  Cath.  de  Noyon. 

202 


MONUMENTS   OF   THE   FIRST   CLASS 

omew."  '  However,  a  letter  of  Bonifice  VIII,  written  in  1294,  proves  that  only  a  part 
of  the  cathedral  was  burned,  together  with  the  cloister,  the  chapter-house,  and  the 
furniture."  The  works  of  reparation  necessitated  by  this  fire  were  not  finished  until 
1320:  the  vaults  of  the  nave  and  of  the  transepts  were  rebuilt  on  a  quadripartite  plan; 
the  three  portals  were  reconstructed;  and  the  northern  tower  completed.  In  1460 
the  flying  buttresses  of  the  choir  were  rebuilt  in  the  Renaissance  style.  About  the 
same  time  the  westernmost  piers  of  the  choir  were  made  over;  the  old  sexpartite, 
was  replaced  by  the  present  quadripartite,  vault;  and  the  profiles  of  many  of  the  aisle 
responds  were  altered.  Noyon,  as  originally  constructed,  was  entirely  covered  with 
sexpartite  vaults  resting  on  an  alternate  system.  Three  shafts  are  engaged  on  each 
pier:  in  the  intermediate  supports  these  shafts  are  supported  on  the  abaci  of  the 
capitals;  in  the  alternate,  they  rise  from  the  ground.  In  the  nave  a  lofty  gallery  is 
surmounted  by  a  triforium  and  a  clearstory;  but  in  the  transepts  (which  have  no 
side  aisles)  these  dispositions  are  reversed,  a  low  passageway  in  the  thickness  of  the 
wall  being  surmounted  by  lofty  windows.  Most  remarkable  are  the  semicircular 
apses  in  which  the  transepts  terminate  —  a  motive  of  great  charm  borrowed  perhaps 
from  Germany.  The  ribs  of  the  ambulatory  vault  are  broken.  Although  the  fly- 
ing buttresses  of  the  nave  have  unfortunately  been  rebuilt  and  those  of  the  chevet 
replaced  by  the  present  Renaissance  constructions,  the  ancient  struts  reinforcing  the 
gallery  vaults  of  the  choir  survive,  and  ofi^er  one  of  the  earliest  extant  examples  of 
fully  developed  flying  buttresses.  Of  great  originality  and  beauty  are  the  western 
transepts  and  the  bold  exterior  narthex  so  characteristic  of  this  cathedral.  Indeed, 
were  the  sexpartite  vaults  still  intact,  and  the  windows  glowing  with  stained  glass 
Noyon  would  be  esthetically  one  of  the  most  satisfactory  achievements  of  transitional 
architecture.  If  it  misses  the  grandeur  of  Paris,  and  the  soaring  majesty  of  Amiens, 
it  still  possesses  a  fairy-like  delicacy  of  design,  a  daintiness  that  is  unequaled.  The 
exquisite  capitals  crowning  the  slender  monoliths  in  the  intermediate  piers;  the  per- 
fect proportions;  the  logical  adjustment  of  the  system  to  the  vault  (as  originally 
planned)  —  all  proclaim  that  at  last  the  time  of  experiment  is  over,  and  the  era  of 
triumph  for  Gothic  architecture  begun.  A  delightful  refinement  of  design  occurs 
in  the  western  bays  of  the  nave,  where  the  intermediate  pier  is  raised  on  a  base  higher 
than  the  alternate  piers.  Similarly  the  arches  of  the  main  arcade  are  given  an 
almost  Saracenic  grace  and  lightness  by  bending  out  their  archivolts  into  a  slightly 
horseshoe  form.  It  was  a  bold,  but  wholly  successful,  expedient  to  omit  all 
mouldings  upon  these  archivolts.     (Lef evre-Pontalis ;  Vitet.) 

CHALONS-SUR-IMARNE,  Marne.  Notre  Dame.  (111.  182,  242.)  Our 
documentary  knowledge  of  this  church  is  confined  to  two  brief  notices  in  Gallia  Chris- 
tiana: one  states  that  a  reconstruction  was  begun  in  1157;  ^  the  other  that  the  church 

1  Mense  Julio,  Noviomum,  Galliae  civitas,  tota  igne  conflagrata  est,  praeter  sancti  Eiigii 
et  sancti  Bartholomaei  abbatias.  —  Edition  Giraud,  Societe  de  I'Histoire  de  France  I,  p.  283,  cit. 
Lefevre-Pontalis,  Hist,  de  la  Cath.  de  Noyon,  p.  39. 

^  Quod  quadam  pars  Noviomensis  ecclesiae  cum  claustro  et  capitulo  ac  omamentis  fuerat 
casu  miserabili  concremata.  —  cit.  Lefevre-Pontalis,  op.  cit.,  p.  39. 

^  Ecclesia  Catalaumensis.  Episcoporum  series  LVI.  Boso.  Anno  vero  1167  reaedificata 
est  ecclesia  beatae  Mariae  de  Vallibus.  —  Gall.  Chris.  IX,  col.  882. 

203 


TRANSITIONAL   MONUMENTS 

was  consecrated  in  1183.'  However,  Herr  von  Bezold  holds  that  Notre  Dame  is 
not  a  homogeneous  edifice,  but  that  the  choir  originally  ended  in  an  apse  which  was 
later  replaced  by  the  present  ambulatory,  —  an  hypothesis  certainly  justified  by  the 
internal  evidence.  The  vault  of  the  ambulatory  is  most  interesting:  two  columns 
are  placed  before  the  radiating  chapels  in  such  a  manner  that  the  space  between  each 
pair  of  main  transverse  ribs  is  divided  into  three  parts  by  lesser  transverse  ribs  run- 
ning from  the  inner  columns  to  these  extra  columns  in  the  opening  of  the  chapels. 
The  central  space,  which  is  square,  is  covered  with  a  simple  rib  vault;  the  outer  tri- 
angular spaces  are  groin-vaulted.  An  analogous  disposition  occurs  in  the  ambulatory 
of  St.  Remi  of  Reims,  the  only  difference  being  that  the  columns  in  the  opening  of 
the  chapels  are  placed  at  St.  Remi  on  a  line  which  is  the  continuation  of  the  circle 
of  the  outside  wall  of  the  ambulatory,  while  at  Chalons  they  are  placed  on  a  straight 
line  drawn  across  the  mouth  of  the  chapel.  That  is,  the  plan  of  the  ambulatory  at 
Chalons  is  conceived  as  being  polygonal  instead  of  circular,  as  at  St.  Remi.  In  con- 
sequence the  columns  are  necessarily  placed  further  apart,  the  central  rib-vaulted 
compartment  becomes  more  perfectly  rectangular,  the  central  arch  opening  into  the 
chapel  becomes  unmistakablj'  wider  than  the  two  which  flank  it,  and  the  double 
curvature  of  the  wall  ribs  is  avoided.  The  nave  of  Notre  Dame  consists  of  two  dis- 
tinct strata  of  construction.  To  the  oldest  belong  the  transept  ends,  a  window  in 
the  south  aisle,  the  towers,  and  the  main  arcades  up  to  the  triforium  level  except  the 
pointed  arches  and  their  archivolts,  which  have  been  rebuilt.  This  church  dating 
perhaps  from  c.  1145  was  characterized  by  two  side  aisles  covered  with  wood  or  pos- 
sibly with  groin  vaults,  a  timber-roofed  nave,  piers  alternately  heavy  and  light,  and 
shafts,  one  engaged  on  every  support.  At  present  these  shafts  have  puzzling  capitals 
which  are  placed  just  above  the  level  of  the  triforium  string,  and  which  seem  to 
belong  to  the  original  construction.  Above  rises  the  building  of  1157-83  —  a  high 
gallery  (retaining  parts  of  the  old  construction),  a  triforium,  a  clearstory,  and  quadri- 
partite vaults  without  wall  ribs  resting  upon  a  system  of  three  shafts.  The  clearstory, 
consisting  of  coupled  lancets,  forms  a  single  composition  with  the  triforium  as  at 
St.  Remi;  the  triforium  is  lighted  by  groups  of  three  lancets.  Sexpartite  vaults  sur- 
mount the  transepts,  the  intermediate  transverse  arch  resting  on  a  corbel.  Externally, 
the  apse  is  flanked  by  two  towers  which,  like  those  of  the  west  fa9ade,  belong  to  the 
earlier  building.  The  single  flying  buttresses  are  similar  to  those  of  St.  Remi,  but 
perhaps  a  little  less  clumsy.  Unlike  St.  Remi,  however,  the  central  lancet  of  the 
triforium  gallery  does  not  break  through  the  cornice.  The  northwestern  spire  is 
modern.     (Von  Bezold.) 

St.  Alpine,  constructed  originally,  it  is  said,  in  1136,  was  rebuilt  in  the  last  half 
of  the  XII  century,  on  a  design  which  closely  imitates  that  of  Notre  Dame.  The 
system  is  alternate,  and  only  the  heavier  piers  were  originally  supplied  with  vaulting 
shafts.^     The  clearstory  with  its  small  windows  is  very  low,  but  the  capitals  of  the 

1  Ecclesia  Catalaumensis.  LVII.  Guide  III  de  Joinville.  Anno  1183  benedixit  eccle- 
siam  beatae  Mariae  in  Vallibus.     Ibid.,  cit.  Inkersley. 

2  At  Notre  Dame  the  capitals  of  the  shafts  engaged  on  the  intermediate  piers  have  been  in 
every  case  made  over,  while  the  alternate  ones  are  in  every  case  original.     This  fact  would  seem 

204 


MONUMENTS   OF  THE   SECOND   CLASS 

shafts  are  placed  far  below  it.  Moreover  these  shafts,  being  engaged  only  on  the 
alternate  piers,  are  very  far  apart,  and  hence  were  probably  intended  to  support  only 
transverse  arches,  although  the  present  vault  springs  from  the  same  level.  Altogether 
this  church  so  little  known  throws  most  interesting  light  not  only  upon  the  neighbor- 
ing church  of  Notre  Dame,  but  upon  the  entire  transitional  movement. 

St.  Jean,  with  the  exception  of  the  Romanesque  nave,  the  chapel  of  the  XV  cen- 
tury and  the  tower  of  the  XVI  century,  is  said  to  date  from  the  XII  and  XIV  centuries. 

Monuments  of  the  Second  Class 

ST.  LEU  D'ESSERENT,  Oise.  Abbaye  belonged  to  the  monks  of  Cluny. 
There  is  no  documentary  evidence  for  the  date  of  the  church,  which,  however,  must 
have  been  erected  in  the  last  half  of  the  XII  century.  The  oldest  portion  is  un- 
doubtedly the  narthex  between  the  two  western  towers,  only  one  of  which  has  ever 
been  finished.  Since  the  transverse  ribs  of  this  porch  are  loaded  to  raise  the  surface 
of  the  vaults,  and  give  them  a  more  acutely  pointed  form  —  a  strange  expedient, 
which  finds,  I  believe,  analogy  only  at  Bury  —  this  part  of  the  edifice  must  be 
assigned  to  c.  1150.  The  choir  comes  next  in  point  of  age,  and  doubtless  dates  from 
c.  1180;  it  is  supplied  with  an  ambulatory  —  apparently  about  contemporary  —  and 
is  flanked  by  two  towers,  both,  unlike  the  western  tower,  without  spire.  The  chevet 
is  vaulted  with  a  radiating  rib  vault  of  the  type  used  at  Noyon.  To  the  westward  of 
the  chevet  is  a  bay  characterized  by  very  heavy  piers,  which  support  two  lateral  towers. 
This  bay  is  covered  with  a  quadripartite  vault,  but  the  following  two  bays  are  united 
under  a  single  sexpartite  vault.  Here  ends  the  choir;  as  at  Mantes,  Sens,  and 
Senlis  there  are  no  transepts.  The  nave  consists  of  six  bays  covered  with  quadripar- 
tite rib  vaults;  it  is  evidently  later  (c.  1205)  than  the  choir,  for  the  clearstory  windows 
are  filled  with  plate  tracery,  while  those  of  the  choir  are  lancets.  The  general  design 
of  the  interior  is  notable  for  the  absence  of  a  triforium  —  an  omission  the  more 
remarkable  that  there  is  a  well-developed  gallery.  Externally  the  flying  buttresses, 
although  placed  too  low  to  secure  the  greatest  eflSciency,  are  supplied  with  double 
struts  throughout.  In  the  choir  they  have  no  gables,  but  in  the  nave  this  feature  is 
added.     (Woillez;  Von  Bezold.) 

SENLIS,  Oise.  Eglise  Cathedrale  (111.  181,  189)  is  said  to  have  been  erected 
slowly  between  the  years  1155  and  1191.'  Although  the  edifice  was  entirely  recon- 
structed above  the  triforium  level  and  a  bay  of  the  nave  was  torn  down  to  make  room 
for  transepts  —  which  did  not  exist  in  the  original  edifice  —  when  the  vaults  were 
raised  in  the  flamboyant  period,  the  primitive  dispositions  may  still  be  made  out. 
Since  the  system  was  alternate,  —  the  heavier  supports  were  piers,  the  lighter  columns 
—  the  vaults  must  have  been  sexpartite.  The  intermediate  system  consisted  of  three 
shafts  carried  on  the  abaci  of  the  capitals;  the  five  shafts  of  the  alternate  system  were 
continuous.  It  is  certain  that  there  was  a  high  gallery;  but  whether  or  not  a  tri- 
forium existed  above  this  is  doubtful.     Externally  the  southwestern  spire  is  one  of 

significant,  but  after  a  careful  examination  on  the  spot  I  failed  to  detect  any  indication  of  a  break 
in  the  masonry  such  as  to  warrant  the  assertion  that  the  intermediate  piers  had  originally  no  shafts. 
1  Lefevre-Pontalis,  Arch.  Rel.,  p.  88,  citing  Gallia  Christiana  X,  Instrumenta,  col.  224. 

205 


TRANSITIONAL   MONUMENTS 

the  supreme  achievements  of  Gothic  architecture,  while  the  sculptures  of  the  west 
portal  are  of  exquisite  beauty.     (Von  Bezold;  Moore,  92.) 

REIMS,  Marne.  St.  Remi.  (111.  183.)  Airard  commenced  to  rebuild  the 
abbey  church  of  St.  Remi  in  1005.  "Therefore  he  summoned  men  who  were  said 
to  be  skilled  in  architecture  and  he  commenced  to  lay  in  dressed  blocks  the  founda- 
tions of  the  future  temple.  This  church  was  a  more  grandiose  and  ambitious  con- 
struction than  any  which  is  recorded  as  ever  having  been  attempted  in  the  kingdom 
of  Gaul,  and  consequently  for  Airard  and  the  men  of  his  time  impossible  of  execu- 
tion. Thus  when,  after  he  had  administered  for  nearly  twenty-eight  years  his  pas- 
toral office,  he  was  overtaken  by  old  age  and  died  [1033],  he  left  unfinished  the  work 
which  he  had  begun."  '  But  his  successor,  Thierry,  "who  purposed  to  accomplish 
as  many  projects  as  possible  for  the  good  of  his  monastery,  took  thought  of  the  re- 
construction of  the  church,  which  his  predecessor  [Airard]  had  begun,  how  he  might 
place  upon  it  the  hand  of  completion.  But,  since  the  work  had  been  commenced 
in  too  difficult  and  impracticable  manner,  and  since  in  his  own  judgment  (when  he 
debated  whether  he  should  finish  what  had  been  imdertaken)  it  seemed  better  to 
abandon  what  had  aheady  been  constructed  by  Airard,  therefore  he  followed  the 
advice  of  those  who  were  accounted  wiser  among  his  own  monks  and  of  the  elders 
of  the  diocese  of  Reims,  and  reluctantly  proceeded  to  destroy  the  work  which  had 
been  begun.  This,  accordingly,  he  tore  down  almost  entirely,  leaving  only  certain 
foundations  which  it  seemed  to  the  architects  could  be  advantageously  used  for  the 
new  building;  and  he  began  to  rebuild  the  house  of  God  on  a  plan  less  pretentious 
it  is  true,  but  not  without  dignity  as  the  church  itself  bears  witness  to  those  who  have 
seen  it.  And  this  reconstruction  was  happily  begun  in  the  fifth  year  of  his  office  [1038]. 
.  .  .  Several  of  the  kindly  family  of  the  Church  prompt!}'  came  to  the  aid  of  the 
abbot,  and  furnished  his  carts  and  oxen  with  loads  worthy  for  so  great  work  as  had 
been  begun;  and  thus  the  foundations  were  placed  in  those  parts  where  they  did  not 
already  exist,  the  columns  taken  from  the  construction  of  Airard  were  carefully  set  up, 
above  them  the  arches  were  diligently  erected,  and  the  building  commenced  to  take 
form  beneath  the  hands  of  the  workmen.  Now  when  the  [outside]  walls  of  the  side 
aisle  had  been  completed,  and  the  clearstory  of  the  inner  temple  [i.e.,  the  nave]  had 
been  raised  above  them,  the  old  church,  dedicated  in  ancient  times  (it  is  said)  by  the 
archbishop  Hinemar,  was  torn  down  to  the  ground,  and  a  mean  temporary  cover- 
ing was  erected  over  the  choir  of  the  brothers,  that  they  might  chant  the  praises  of 
God  free  from  the  disturbance  of  wind  and  rain.  And  over  the  tomb  of  St.  Remi 
was  built  a  crypt,  small  indeed  and  all  unworthy  of  the  holy  body,  but  still  beautiful 
and  supported  on  columns  and  arches.  .  .  .  Subsequently  [1041]  Thierry  died  and 
Herimar  was  elected  by  the  almost  unanimous  voice  of  all  the  brothers  to  succeed 
him:  and  Herimar  was  ordained  by  the  worthy  Wido,  archbishop  of  Reims.     The  new 

'  Quapropter  viris  qui  architecturae  periti  ferebantur  ascitis,  futuri  templi  fabricam  ex 
quadris  lapidibus  erigere  coepit  a  fundamentis,  multo  quidem  operosiorem  illis,  quas  praeno- 
tatum  est  in  Gallico  regno  renovatas,  et  ambitiosiorem :  ideoque  sibi  et  illius  aevi  hominibus 
inconsummabilem.  Nam  ubi  per  viginti  et  octo  fere  annos  pastorale  officium  administravit, 
senio  confectus,  coeptoque  cperi  finem  non  imponens  vita  decessit.  —  Anselmi,  Itin.  Leonis  IX. 

206 


MONUMENTS   OF   THE   SECOND   CLASS 

abbot  did  not  suffer  the  memorable  work  begun  by  his  predecessor  to  remain  long 
interrupted,  but  he  resumed  the  construction  of  the  right  transept,  which  had  already 
been  considerably  advanced,  and  then  attacked  the  left  transept,  of  which  up  to  this 
time  only  the  foundations  and  a  stairway  leading  to  the  upper  stories  had  been  erected. 
Moreover  he  caused  the  crypt  which  (as  has  been  told  above)  had  been  built  over 
the  tomb  of  St.  Remi  and  which  by  its  small  size  seemed  out  of  keeping  with  the  lof- 
tier work,  to  be  torn  down,  and  he  caused  another  more  worthy  to  be  built.  Finally 
timber  was  brought  from  the  wood  near  the  monastery  of  Orbais,  the  roof  of  the  temple 
was  erected,  and  thus  the  entire  building  appeared  most  seemly  in  all  its  parts."  ' 
The  consecration  was  celebrated  with  much  pomp  in  1049,  as  Anselm  goes  on  to  de- 
scribe in  detail.  But  a  misfortune  soon  overtook  the  monastery:  "In  the  year  1098 
and  in  the  time  of  Burchard,  the  monastery  of  St.  Remi  was  injured  by  fire,  and  was 
restored  in  the  year  1100  by  Duke  Guy,  as  the  following  inscription  proves:  —  'Be- 
cause our  new  church,  which  had  been  consecrated  not  long  before  by  Pope  Leo, 
was  saved  from  the  fire  which  burned  a  great  part  of  our  monastery  in  the  year  1098, 
and  because  the  monastery  was  restored  at  the  expense  of  Duke  Guy,  our  abbot  has 
placed  this  statue  of  the  Blessed  Virgin  in  the  chapel  of  the  novices,  in  the  year  1100.'"'' 

'  Qui  [Theodoricus]  quam  plurima  ecclesiasticae  utilitati  profutura  decerneret  disponere, 
deliberavit  reparationi  ecclesiae  suae  quam  suus  praedecessor  inceperat,  manum  perfectionis 
imponere.  Varum,  quia  grave  nimis  et  inexplebile  sibi  illud  erat  ineoeptum,  deliberatio  quoque 
sua,  si  id  intenderet  implere,  videbatur  non  habitura  effectum,  quocirca  eorum  qui  inter  sibi 
commissos  prudentiores  habebantur  et  seniorum  Remensis  pro\-inciae  oonsilio  usus,  difficulter 
aggressus  est  inchoatum  diruere  opus;  quo  poene  diruto  et  fundamentis  quibusdam  relictis, 
quae  architectis  \'isa  sunt  necessaria  fore  futuris  aedificiis,  divinam  domun  coepit  faciliori  qui- 
dam  structura,  sed  non  indecentiore  construere  ut  aspectum  adhibentibus  facile  est  cernere. 
Qua  incoepta  feliciter  anno  quinto  suae  ordinationis  accensi  sunt  plures  catholici.  .  .  .  Non- 
nulli  etiam  de  ecclesiastica  familia  sumn  auxilium  prompter  impenderunt  benevolentia,  suis- 
que  plaustris  et  bobus  tantis  incoeptis  competentia  advexerunt  onera;  sicque  fundamentis,  in 
quibus  locis  non  erant,  locatis,  et  columnis  ex  destructo  priori  aedificio  competenter  dispositis, 
arcus  super  eas  diligenter  voluti  consurgere,  et  basilicae  fabrica  inter  manus  artificum  coepit 
clarescere.  Tunc  jam  vestibulorum  parietis  undique  erectis,  et  interioris  templi  fastigiis  altius 
elevatis,  vetusta  ecclesia  ab  Hincmaro  archiepiscopo,  ut  dictum  est,  antiquitus  dedicata,  est 
eversa  funditus,  et  \Tlis  interim  teeti  coopertoriolum  fabricatum  super  chorum  fratrum,  ubi  abs- 
que inquietudine  ventorum  et  plm^iarum  dii-inis  possent  vocare  laudibus.  Supra  vero  sepul- 
chram  B.  Remigii  crj'pta  constructa  est,  licet  par\'a,  ideoque  tota  sancto  corpori  incongrua, 
pulchre  tamen,  columnis  et  arcubus  fulta.  .  .  .  Hie  ergo  [Herimarus]  loco  defimcti  patris  sub- 
rogatus,  fratrum  poene  onmiiun  unanimi  sententia,  ordinatu  memorati  Widonis  Remorum  archi- 
praesulis,  non  diu  passus  est  interruptum  pendere  memorabila  coeptiun  sui  antecessoris ;  sed 
prime  quidem  dextram  basilicae  crucem,  maxima  ex  parte  jam  inchoatam,  et  sinistram,  nihil 
adhuc  praeter  fundamenta  habentem,  cum  cocleis,  quibus  ad  superiora  esset  ascensus,  fecit 
aedificari.  Cryptam  autem,  quae  super  B.  Remigii  sepulchram  constructa  fuerat,  quia  ut  supe- 
rius  relatum  est,  quae  parWtate  sua  alterius  opens  incongrua  %'idebatur,  dirui  et  aliam  ementiorem 
fecit  restitui.  Deinde  trabibus  de  saltu  juxta  Orbacis  monasterium  sito  advectis,  fastigia  ejus- 
dem  consequuntur  templi,  sicque  decentissima  domus  tota  apparuit  in  partibus  suis.  —  Anselmi 
[fl.  c.  1060],  Itinerarium  Leonis.  Published  in  Bollandes,  vol.  October  1st,  and  cited  by  Poussia, 
p.  105.  A  summary  of  this  account  is  given  by  Mabillon,  Annales  Ordinis  S.  Benedicti,  Ub.  LIX, 
tome  TV,  p.  503. 

^  Anno  Ch.  1098.  Burchardi  tempore,  et  quidem  hoc  ipso  anno,  incendio  deformatum  fuit 
S.  Remigii  monasterium,  quod  Guido  Trimoliensis  anno  M  C  suis  impensis  instauravit,  ut  se- 

207 


TRANSITIONAL   MONUMENTS 

From  this  it  seems  clear  that  the  church  was  not  seriously  damaged  in  1098,  nor  did 
the  building  of  1049  undergo  seribus  modification  before  the  last  half  of  the  XII  cen- 
tury. Pierre  de  Celles,  abbot  from  1162-81,  writing  c.  1170,  has  left  us  some  account 
of  the  reconstruction  which  then  took  place:  —  "Wishing  to  build  anew  the  choir  of 
our  monastery,  with  the  help  of  God  we  put  our  hand  courageously  to  the  work,  and 
we  undertook  to  make  our  church,  which  had  lacked  a  fitting  chevet,  noble  in  its  head 
as  well  as  in  its  belly."  '  His  successor,  Simon,  ordained  in  1182  by  William  I,  arch- 
bishop of  Reims,  did  much  building,  and  freed  his  monastery  from  various  burdens. 
He  died  July  ^-Ith,  1198,  and  was  buried  in  the  nave  of  the  church.  The  last  verses 
of  his  enigmatical  epitaph  run  as  follows:  "he  built  the  church,  he  ruled  the  monks, 
he  distributed  what  was  to  be  given,  he  baptized  the  chosen,  he  earned  salvation."  ^ 
A  passage  in  Dom  Marlot,^  however,  makes  it  probable  that  Simon  had  nothing  to 
do  with  the  reconstruction  of  the  choir,  which  was  doubtless  completed  before  he 
came  to  office,  so  that  his  building  activities  must  have  been  confined  to  the  two  west- 
ernmost bays  of  the  nave.  There  is  only  one  text  bearing  upon  the  later  history  of 
the  structure,  and  that  is  of  a  much  later  time:  —  "Robert  of  Lenoncourt  .  .  .  fin- 
ished the  south  fa9ade  of  St.  Remi  in  1506,  and  gave  to  that  church  silver  vessels  and 
sacred  utensils."  *  From  this  selection  of  the  unusually  numerous  texts  bearing  upon 
the  history  of  St.  Remi,  it  is  evident  that  the  edifice  begun  in  1005  was  never  finished 
but  torn  down  and  recommenced  on  a  more  modest  scale  in  1038;  that  this  building 
was  completed  and  consecrated  in  1049;  that  the  choir  was  rebuilt  in  1170-81;  and 
that  the  south  transept  was  rebuilt  in  1506.  On  the  internal  evidence  of  the  monu- 
ment itself,  it  is  equally  evident  that  most  of  the  fafade,  the  two  western  bays  of  the 
nave,  and  the  nave  vaults  (now  replaced  by  a  wooden  imitation)  are  about  contem- 
porary with  the  choir,  and  may  be  considered  the  work  of  Simon  (1182-98).     Thus 

quens  inscriptio  docet:  —  "Anno  Domini  millesimo  nonagesimo  octavo,  cum  incendio  consump- 
tum  fuisset  magna  ex  parte  raonasterium  nostrum,  ob  servatam  ecclesiam  nostram  novam,  quae 
non  multo  ante  dedicata  fuerat  a  domino  papa  Leone,  et  restauratum  monasterium  sumptibus 
ducis  Guidonis,  dominus  abbas  noster  banc  Deiparae  virginis  efEgiem  in  oratorio  no^itiorum 
posuit  anno  millesimo  centesimo."  —  Mabillon,  Annales  OTdinis  S.  Benedicti,  lib.  LXIX,  tome 
V,  p.  397;  Gall.  Chris.  IX,  col.  227-234,  cit.  Inkersley. 

'  Caput  monasterii  renovare  volentes,  cum  Dei  adjutorio  manuin  ad  fortia  mittimus,  no- 
bilem  ecclesiam  nostram  tam  in  fronte  quam  in  ventre,  qui  caput  secundum  se  deerat,  fabri- 
candam  suscepimus.  —  Pierre  de  Celles  IX,  Epis.  4.  It  seems  to  be  on  the  basis  of  this  passage 
that  the  authors  of  Gallia  Christiana  have  founded  the  account  which  may  be  found  in  Vol.  IX, 
col.  23  of  that  work.  One  detail  is  however  added :  "he  restored  the  exterior  gables  where  are 
the  bells"  —  ef  fastigium  exferius,  vbi  sunt  campanilia,  Tenovavit. 

-Syllabus  Abbatum  XXXIII.     Simon,  benedictus  anno  1182  a  Guillelmo  I  Archiepiscopo 
et  Cardinale,  multa  aedifica\'it,  monasleriumque  suum  variis  exemit  oneribus.     Obiit  IX  Cal. 
Aug.  anno  1198  tumulatusque  est  in  na^i  ecclesiae  cum  epitaphio  cujus  sunt  ultimi  versus: 
Erexit,  rexit,  dispersit,  resjjersit,  emit 
Ecclesiam,  monachos,  danda,  cavenda,  Deum. 

—  Gall.  Chris.,  vol.  IX,  col.  236,  cit.  Inkersley. 

^  II,  456,  cit.  Lefevre-Pontalis. 

*  LXXX.  Robertus  III  de  Lenoncourt.  .  .  .  His  adde  quod  frontem  ecclesiae  S.  Remigii 
meridionalem  comple\'it  anno  1506,  basihcamque  illam  tam  vasis  argenteis  quam  sacra  supel- 
lectile  ditavit.  —  Gall.  Chris.  IX,  col.  147,  cit.  Inkersley,  119. 

208 


MONUMENTS   OF  THE   SECOND   CLASS 

St.  Remi  is  a  surely  dated  and  important  example  of  the  style  of  three  crucial  periods 
of  architectural  history:  the  Romanesque  of  the  first  half  of  the  XI  century,  the  tran- 
sition, and  the  flamboyant  style.  Of  the  building  begun  in  1005  some  traces  remain; 
notably  the  west  side  of  the  north  transept  is  unquestionably  part  of  this  edifice,  for 
it  is  obviously  more  primitive  in  style  than  the  east  side  of  the  same  transept,  which 
must  have  formed  part  of  the  reconstruction  of  1038.  The  basilica  projected  in 
1005  was  intended  to  have  double  side  aisles,  very  deep  transepts,  and  a  nave  of  the 
same  length  as  the  present  one.  The  interior  design  consisted  of  a  series  of  rather 
narrow  bays,  separated  by  enormously  heavy  columns.  The  archivolts  both  of  the 
main  arcade  and  of  the  triforium  gallery  were  of  a  single  unmoulded  order.  The 
capitals  (most  of  which  were  never  carved)  were  of  a  Corinthianesque  type  with 
acanthus-leaves  and  volutes  scratched  on  the  surface.  The  reconstruction  of  1036 
made  many  changes,  of  which  the  most  noticeable  were  the  suppression  of  the  outer 
side  aisles,  the  doubling  of  the  archivolts,  the  replacing  of  the  old  columns  by  com- 
pound piers,  and  the  widening  of  the  bays.  The  present  subdivision  of  the  gallery 
openings  is  an  addition  of  1170;  in  1049  there  was  doubtless  a  single  unmoulded  arch 
of  one  order  in  each  bay.  The  clearstory  of  Thierry  was  small,  and  the  galleries, 
like  the  nave,  were  roofed  in  wood.  When  the  nave  was  covered  with  quadripartite 
rib  vaults  in  1182-98,  the  present  system  was  grafted  on  to  the  ancient  Romanesque 
structure.  The  peculiar  design  that  at  present  characterizes  the  two  western  bays 
of  the  nave  is  probably  due  to  the  fact  that  the  space  left  between  the  last  bay  of  the 
work  of  1049  and  the  towers  (whose  lower  parts  perhaps  date  from  1005)  was  wider 
than  a  single  bay  of  the  nave,  but  not  as  wide  as  two.  In  the  reconstruction  of  1170, 
therefore,  the  system  of  these  bays  was  made  sexpartite.  Except  for  the  omission  of 
the  wall  rib,  this  is  logically  carried  out.  For  the  rest,  the  design  is  similar  to 
that  of  the  choir  except  that  the  double  clearstory  which  characterizes  the  rest 
of  the  nave  is  retained.  The  choir  is  one  of  the  loveliest  examples  of  transitional 
architecture.  Of  the  double  aisles  of  the  ambulatory,  only  the  inner  one  is  carried 
around  the  chevet.  The  ambulatory  vaults  are  like  those  of  Notre  Dame  of  Chalons- 
sur-Marne  (p.  203),  save  that  the  plan  of  the  chevet  is  circular  instead  of  polygonal; 
each  bay  is  divided  into  three  compartments,  one  rectangular,  two  triangular,  by  col- 
umns placed  in  the  openings  of  the  radiating  chapels.  The  design  of  the  main  choir 
is  in  four  stories,  but  the  predominance  of  horizontal  lines  is  avoided  by  combining 
the  lofty  gallery  and  the  triforium  with  the  three  lancets  of  the  clearstory  by  means 
of  continuous  mouldings.  Five  shafts  rising  from  the  abaci  of  the  capitals  support 
the  quadripartite  vaults.  The  flying  buttresses  are  primitive  in  style,  but  M.  Lefevre- 
Pontalis  believes  that  they  must  be  later  than  the  original  structure  in  as  much  as  they 
cut  across  certain  string-courses.  This  proof  seems  conclusive;  yet  since  the  but- 
tresses are  obviously  primitive  in  style,  and  since  it  is  difficult  to  understand  how  the 
vaults  could  have  stood  for  even  a  few  years  without  some  such  abutment,  these  fea- 
tures must  have  been  added  soon  after  1181.  A  peculiarity  of  the  exterior  decora- 
tion of  this  church  is  the  fluting  of  the  columns.     (Poussin;  Bazin.) 

St.  Jacques  is  said  to  date  from  1183,  except  the  choir  which  is  a  construction 
of  1548.     (Guide  Joanne.) 

209 


TRANSITIONAL   MONUMENTS 

BELLEFONTAINE,  Oise.  Prieure  is  of  great  importance  as  the  sole  monu- 
ment of  the  first  half  of  the  XII  Century  in  the  diocese  of  Soissons,  for  which  there  is 
documentary  evidence  of  date.  "For  we  grant  permission  to  the  same  brothers  to 
build  there  [at  Bellefontaine]  a  chapel.  .  .  .  Done  in  the  year  of  the  incarnation  of 
the  Lord  1125,  the  third  indiction,  in  the  reign  of  Louis  [VI],  king  of  the  Franks."  ^ 
M.  Lefevre-Pontalis  assumes  that  the  building  which  this  charter  authorizes  was  com- 
menced immediately  and  completed  by  1130  —  an  hT,-pothesis  which  has  been  warmly 
attacked  by  M.  Enlart  who  assigns  the  construction  to  1145  or  even  later.  On  the 
whole,  however,  I  incline  to  accept  the  date  maintained  by  M.  Lefevre-Pontalis,  for 
the  style  of  the  building,  while  certainly  advanced,  does  not  appear  to  me  to  be  later 
than  c.  1130.  The  church  is  desecrated  and  much  ruined,  but  the  plan  and  the  orig- 
inal dispositions  can  still  be  made  out.  There  is  a  nave  flanked  by  two  side  aisles, 
which  are  continued  along  the  sides  of  the  square  choir.  The  nave,  two  bays  long, 
is  covered  with  a  single  rib  vault  erected  on  a  square  plan.  The  profile  of  the  ribs 
consists  of  three  tori.  Pointed  arches  are  largely  employed  in  the  vaults,  which  have 
no  wall  ribs,  and  in  the  easternmost  bays  of  the  side  aisles  no  ribs  at  all.  The  arches 
are  all  heavily  stilted.  The  archivolts  of  the  main  arcade  are  pointed  and  fully 
moulded;  the  intermediate  piers  of  the  nave  are  severely  simple  rectangles  unreUeved 
save  for  the  moulded  comers:  the  system  is  logical  and  continuous  except  that  the 
nave  vault  is  carried  on  corbels.  Rich  mouldings  ornament  the  round-headed  win- 
dows. The  buttresses  are  very  salient,  and  those  of  the  choir  have  several  ressauts. 
The  choir  vault,  which  is  similar  to  that  of  the  nave,  is  still  intact.  (Lefevre-Pon- 
tahs  II,  4.) 

ST.  GERMER,  Oise.  Ahhaye.  (111.  173,  177.)  There  is  no  documentary 
evidence  for  the  date  of  this  church.  The  choir  and  the  transepts  which  are  evidently 
the  most  ancient  portions  of  the  existing  edifice  have  been  assigned  to  1132  by  Ver- 
neilh  and  Von  Bezold,  to  "shortly  after  1130"  by  Mr.  Moore,  to  1140  by  M.  Le- 
fevre-Pontalis, and  to  1160  by  M.  St.  Paul.  The  building,  begun  at  the  east  end, 
was  evidently  erected  very  slowly,  and  the  vaults  of  the  westernmost  bays  of  the  nave 
have  never  been  finished,  being  at  present  replaced  by  an  imitation  vault  of  wood. 
A  triforium  gallery  runs  completely  around  the  interior:  it  is  vaulted  with  groin  vaults 
resting  on  semicircular  transverse  ribs.  These  ribs  are  surmounted  by  concealed 
flying  buttresses.  The  logical  and  continuous  system  includes  five  shafts  in  the 
rectangular  portions  of  the  edifice,  three  in  the  chevet.  The  ambulatory  vaults,  which 
are  slightly  domed,  are  provided  with  a  complete  set  of  ribs;  the  diagonals  are  curved 
in  plan.  The  chevet  vault  is  characterized  by  stilted  wall  ribs.  The  decoration  con- 
sists of  double  arched  corbel-tables,  chevrons  (applied  to  ribs),  dog-tooth  mouldings, 
etc.  The  "Sainte  Chapelle"or  lady  chapel  was  rebuilt  between  1259  and  1272," 
and  is  a  veritable  masterpiece  of  rayonnant  architecture,  comparable  to  the  Ste.  Chap- 
elles  of  Paris,  Valenciennes,  or  the  destroyed  chapel  of  Bourges.     The  capitals  are 

'  Concedimus  etiam  eisdem  fratribus  ut  ibidem  oratorium  liceat  sibi  construere  [Bellefon- 
tana]  .  .  .  Actum  incamationis  dominici  anno  MCXXV  indictione  III  regnante  Franeorum 
rege  Ludovico.  —  Archives  de  I'Oise,  H.  459,  printed  by  Lefevre-PontaUs,  Arch.  Bel.  U,  4. 

^  Louvet,  p.  34;  Gall.  Chris.,  vol.  IX,  col.  794,  cit.  Inkersley,  90. 

210 


MONUMENTS   OF  THE   SECOND   CLASS 

highly  naturalistic;  the  wall  spaces  are  eliminated;  the  entire  design  shows  a  wealth 
and  beauty  of  detail  it  would  be  difficult  to  equal.  Fine  glass  of  the  XIII  century 
survives  in  certain  of  the  windows. 

BEAUVAIS,  Oise.  St.  Etienne.  (111.  162,  213.)  "Of  the  primitive  edifice 
only  portions  of  the  nave  remain,  and,  although  this  nave  was  several  times  remod- 
eled in  the  XII  century,  the  character  of  the  original  design  is  clearly  traceable.  The 
system  is  uniform,  and  the  vault  compartments  are  oblong  in  both  nave  and  aisles. 
The  easternmost  bay  of  the  nave  is  of  the  primitive  construction  up  to  the  clearstory 
level,  while  the  piers  throughout,  together  with  the  lower  archivolts,  also  retain  their 
original  form,  though  they  must  have  been  repaired  in  spots.  The  original  vaulting 
of  the  nave  must  have  been  destroyed  in  the  XII  century,  while  the  existing  vaults 
were  apparently  constructed  after  a  fire  from  which  the  building  suffered  in  1180.' 
We  are  not,  however,  left  in  doubt  concerning  the  character  of  the  original  vaulting; 
for  the  composition  of  the  piers  and  the  existing  vaulting  of  the  aisles  show  plainly 
what  it  must  have  been.  Each  pier  has  a  pilaster  with  a  central  engaged  shaft  on 
its  face,  and  a  smaller  shaft  on  either  side.  These  members  rise  from  the  pavement, 
and  that  they  belong  to  the  original  design  is  shown  by  the  homogeneous  character 
of  the  bases  on  which  they  rest  and  to  which  they  are  perfectly  adjusted  and  by  their 
correspondence  with  the  unaltered  work  on  the  aisle  side.  It  is  further  shown  by 
the  high  vaulting  capitals  still  in  place  in  the  unaltered  eastern  bay.  These  capitals 
are  like  those  of  the  primitive  aisle  vaulting  and  are  of  a  less  advanced  type  than 
those  which  belong  to  the  remodeled  parts  of  the  edifice."  ^  The  transverse  arches 
of  the  aisles  are  highly  stilted.  The  present  triforium  seems  to  have  been  added 
about  the  middle  of  the  XII  century;  since  the  string-courses  are  awkwardly  arched 
over  it,^  it  could  not  have  belonged  to  the  original  building.  Externally,  the  decora- 
tion of  the  north  transept  end  with  its  wheel  of  fortune  and  reticulated  work  recalling 
Carolingian  tradition  is  peculiar;  so  also  are  the  double  arched  corbel-tables  and  the 
buttresses  ending  in  shafts.  The  fa9ade  is  characterized  by  a  Renaissance  tower,  a 
XII  century  portal,  and  a  superbly  sculptured  Gothic  doorway.  The  choir  with 
its  double  flying  buttresses  and  high  clearstory  is  a  turgid  example  of  the  style  of  the 
XVI  century.  Renaissance  tracery  fills  the  clearstory  windows.  The  original  con- 
struction may  be  assigned  to  c.  1130.     (Moore;  Von  Bezold;  Johnson.) 

iSi.  Gilles.  Some  fragments  of  the  richly  carved  portal  of  the  XII  century  sur- 
vive.    (Barrand.) 

La  Madeleine,  now  part  of  the  Ecole  des  Freres,  is  said  to  be  of  the  XI  and  XII 
centuries.     (Guide  Joanne.) 

PONTOISE,    Seine-et-Oise.     St.    Maclou.     (111.    166.)     The    original    edifice 

■  Von  Bezold  gives  a  different  account :  "  Ob  die  Gewolbe  des  Mittelschiffes  schon  im  XII 
Jahrhundert  ausgefiihrt  war  ist  fraglich.     Die  bestehenden  sind  friihstens  aus  XV. 

^  Moore,  Gothic  Arch.,  p.  52.  This  is  the  best  description  that  has  yet  appeared  of  a  mon- 
ument full  of  archaeological  difficulties.  I  made  a  trip  to  Beauvais  in  the  summer  of  1905  with 
the  especial  purpose  of  making  a  careful  study  of  St.  fitienne  only  to  find  the  nave  completely 
blocked  up  by  scaffolding.  By  this  time  doubtless  restoration  has  added  to  the  other  difficulties 
which  this  monument  presents. 

^  Op.  cit.,  p.  105. 

211 


TRANSITIONAL   MONUMENTS 

must  have  been  erected  after  1140  —  the  earUest  date  allowable  by  the  style  of  the 
architecture  —  and  before  1165,  ^'hen  a  cure  of  this  parish  is  mentioned  in  docu- 
mentary sources.  That  this  building,  the  nave  included,  was  completely  finished  in 
the  XII  century  is  proved  by  the  debris  of  one  of  the  original  wall  ribs  still  surviving 
in  the  vaults  of  the  present  nave.  In  1309,  the  tower,  which  formerly  had  stood  over 
the  transept,  was  torn  down,  but  the  complete  reconstruction  of  the  monument  was 
not  commenced  until  the  middle  of  the  XV  century.  The  ancient  fa9ade  was  at  this 
time  demolished  and  replaced  by  the  present  construction,  which  M.  Lefevre-Pontalis 
assigns  to  1450-70.  However,  only  the  central  part,  together  with  the  tower  as  far 
as  the  base  of  its  dome,  date  from  this  period;  the  small  lateral  portal  can  not  be 
earlier  than  the  end  of  the  XVI  century.  At  the  same  time  the  reconstruction  of  the 
nave  was  undertaken,  but  lack  of  resources  must  have  caused  the  work  to  be  aban- 
doned after  only  two  bays  had  been  completed.  While  operations  were  interrupted 
in  this  direction,  the  attention  of  the  builders  was  called  to  the  vaults  of  the  radiating 
chapels  of  the  chevet,  which  threatened  ruin.  It  was  found  necessary  to  replace  most 
of  the  ancient  ribs,  and  advantage  was  taken  of  the  presence  of  the  workmen  in  this 
part  of  the  edifice  to  rebuild  all  the  windows  in  the  taste  of  the  period.  This  restora- 
tion was  executed  in  1477  as  is  recorded  in  an  ancient  contract  still  extant.  In  1525 
the  reconstruction  of  the  nave  was  resumed  in  the  north  side  aisle;  this  reconstruc- 
tion continued  throughout  the  XVI  century  and  ended  only  when  the  interesting 
three-aisled  nave  of  the  XII  century  had  disappeared  entirely  in  the  present  five- 
aisled  structure  —  an  exquisite  example  of  the  style  of  the  early  Renaissance.  Con- 
sequently the  character  of  the  original  edifice  may  be  best  studied  in  the  ambulatory. 
This  is  semicircular  (the  choir  is  not  prolonged)  and  supplied  with  five  radiating 
chapels,  each  of  which,  together  with  the  corresponding  bay  of  the  ambulatory,  is 
covered  with  a  single  rib  vault.  The  diagonals  are  not  curved  in  plan  nor  broken; 
but  an  extra  rib,  running  from  the  keystone  to  the  center  of  the  outside  wall  of  the 
chapel,  divides  the  vaulting  surface  into  spaces  approximately  equal.  The  round 
arch  is  retained  in  the  wall  ribs.  The  upper  vault  of  the  chevet  and  the  clearstory 
windows  were  rebuilt  at  the  end  of  the  XV  century.  (Lefevre-Pontalis;  Von  Bezold; 
Moore.) 

POISSY,  Seine-et-Oise.  St.  Louis  consists  of  a  nave,  two  side  aisles,  two  orien- 
tated absidioles  opening  on  the  false  transepts  and  taking  the  place  of  radiating 
chapels,  a  choir  prolonged  slightly  beyond  the  semicircle,  an  ambulatory  of  five  bays, 
and  a  lady  chapel  of  horse-shoe  plan.  There  are  no  pointed  arches;  the  three  eastern 
bays  of  the  nave  are  covered  with  rib  vaults,^  but  the  ambulatory  (which  suffered 
severely  in  the  restoration  of  VioUet-le-Duc)  is  groin-vaulted.  The  wall  arches  of  the 
ambulatory  vault  are  sprung  from  a  lower  level  than  the  transverse  ribs,  and  are 
much  depressed,  while  the  arches  of  the  main  arcade  are  stilted;  in  spite  of  this, 
however,  the  vault  surface  rises  sharply  towards  the  outer  edge.  In  the  easternmost 
two  bays  of  the  nave  the  ribs  are  carried  on  shafts  rising  from  the  pavement,  but  in 
the  third  they  rest  on  corbels  at  the  impost  level.     The  triforium,  like  other  parts 

'  These  are  the  only  original  vaults  of  the  nave  that  remain.  Von  Bezold  questions  whether 
also  these  may  not  have  been  renewed. 

212 


MONUMENTS   OF   THE   SECOND   CLASS 

of  the  church,  was  much  altered  about  the  end  of  the  XII  century.  On  the  style  of 
the  sculpture  — •  which  is  advanced  in  character  and  skilfully  executed,  —  the  monu- 
ment may  be  assigned  to  c.  1140.  (St.  Paul;  Lefevre-Pontalis,  Arch.  Rel.,  84;  Von 
Bezold;  Moore,  Goth.  Arch.,  85.) 

AIRAINES,  Somme.  Notre  Dame.  The  charter  authorizing  the  construc- 
tion of  this  church  is  still  extant.'  This,  unfortunately,  is  not  dated,  but,  since  it  is 
known  that  the  prior  Thibaut  who  signed  it  was  in  office  from  1108  to  1119,  the  build- 
ing may  have  been  begun  at  any  time  after  1108.  However,  the  style  of  those  por- 
tions of  the  original  edifice  which  survive  —  the  choir  is  modern,  the  transepts  and 
the  vaults  of  the  southern  side  aisle  and  of  the  western  bay  of  the  nave,  flamboyant 
—  while  undoubtedly  that  of  the  first  third  of  the  XII  century,  must  be  con- 
siderably later  than  1108.  The  northern  side  aisle  is  covered  with  groin  vaults 
erected  on  the  Roman  principle  with  level  ridges;  the  nave,  except  the  western  bay 
which  is  supplied  with  a  flamboyant  multiple  rib  vault,  is  covered  with  highly  domed 
pointed  rib  vaults  without  wall  ribs.  In  the  nave  the  bays  are  square  in  plan;  in  the 
aisles  they  are  oblong  longitudinally.  The  system  of  the  nave  is  logical  and  continu- 
ous; the  archivolts  are  unmoulded  and  of  a  single  order;  there  is  a  clearstory  but 
no  triforium.  The  exterior  is  characterized  by  the  absence  of  buttresses,  by  round- 
headed  windows,  and  by  a  fa9ade  with  a  continuous  gable.     (Enlart,  Arch.  Rom.,  51.) 

PARIS,  SeiLe.  St.  Germain-des-Pres.  (111.  185.)  The  documentary  evidence 
bearing  upon  the  history  of  the  construction  of  this  abbey  is  confined  to  one  text  and 
several  others  evidently  derived  from  it:  "In  the  year  of  the  incarnation  of  the  Lord 
1163  Pope  Alexander  III  came  to  the  city  of  Paris  and  remained  some  time;  and 
while  he  was  sojourning  there,  I,  Hugh  III,  abbot  of  St.  Germain  of  Paris,  went  to 
him  and  humbly  begged  him,  that,  inasmuch  as  the  church  of  St.  Germain  had  been 
repaired  in  a  new  fashion,  but  was  not  yet  consecrated,  that  he  should  deign  to  honor 
it  with  the  dignity  of  a  dedication.  And  that  very  reverend  Pope,  Alexander,  gra- 
ciously granted  our  prayers,  and,  on  the  twenty-first  of  April,  he  came  to  the  said 
church  .  .  .  and  dedicated  it  with  the  greatest  pomp,  as  was  fitting.  I,  Hugh  IJI, 
abbot  of  St.  Germain-des-Pres,  testify  that  this  consecration  so  took  place  on  my 
initiative;  and  therefore  I  have  committed  these  things  to  writing  to  certify  this  to 
men  who  live  now  and  to  those  who  shall  come  hereafter.  And  I  have  hereto  set 
my  seal."  ^     The  date  of  this  single  consecration  is  not,  however,  of  as  much  help  in 

•  Published  by  Dom  Martin  Marrier  in  his  Histoire  de  St.  Martin-des-Champs. 

^  Anno  ab  incarnationi  Domini  MCLXIII  Alexander  P.  P.  Ill  Parisiensem  cintatem  in- 
gressus  per  aliquot  tempus  moras  fecit;  dumque  in  eadem  urbe  moraretur,  ego,  Hugo  III  abbas 
Sancti  Germani  Parisiensis,  accedens  ad  ejus  praesentiam  humiliter  exoravi  eum,  quatenus 
ecclesiam  Beati  Germani  novo  schemati  reparatam,  quia  necdum  consecrata  erat,  dignitate 
consecrationis  insignire  dignaretur.  At  idem  reverendissimus  P.  Alexander  precibus  nostris 
gratenter  anuens,  XI  Calendas  Maii  ad  praedictam  ecclesiam  venit  .  .  .  et  earn  honoriiicentis- 
sime,  prout  decebat,  dedicavit.  Ego,  Hugo  abbas  Sancti  Germani  de  pratis  tertius,  testificor 
hanc  consecrationem  meo  instinctu  sic  peractam  fuisse,  et  ideo  ad  certitudem  praesentium  et 
futurorum  eadem  scripto  eommendavi  et  sigillo  meo  corroboravi.  —  Historia  Ecclesiae  Paris- 
iensis, auctore  Gerardo  Dubois,  lib  XIII,  cap.  IV,  p.  129,  cit.  Inkersley;  Cf.  also  Disertaiion 
of  Dom  Ruinart,  in  the  Receuil  des  Historiens  des  Gaules  II,  p.  724;  Gallia  Christiana  VII,  col 
439. 

213 


TRANSITIONAL   MONUMENTS 

the  study  of  the  edifice  as  niight  be  supposed,  for  the  monument  contains  no  less  than 
three  strata  of  construction  all  evidently  executed  in  the  XI  and  XII  centuries.  To 
the  earliest  of  these  belong  the  base  of  the  western  tower  and  its  porch.  The  nave 
and  the  transepts,  together  with  an  apse  which  has  disappeared,  appear  somewhat 
later,  but  still  are  clearly  earher  than  1163.  The  nave  is  not  exactly  alligned  with 
the  axis  of  the  western  tower;  its  arches  have  a  toric  profile;  several  of  its  capitals 
show  remarkable  delicacy  of  execution;  its  square  rudimentary  piers  are  supplied 
each  with  four  engaged  columns.  The  choir  (somewhat  greater  than  a  semicircle 
in  plan)  and  the  ambulatory  form  the  third  strata  of  construction,  and  are  certainly 
the  parts  which  were  finished  in  1163.  This  choir  contains  one  of  the  earliest  ex- 
amples of  a  triforium  arcade,  and  it  is  remarkable  that  the  latter  is  bound  together 
with  the  clearstory  by  continuous  mouldings.  Notwithstanding  the  deplorable  res- 
torations which  have  so  gravely  altered  this  part  of  the  edifice,  it  is  possible  to  recog- 
nize that  the  uniform  system  of  three  shafts  was  originally  supported  on  the  abaci  of 
the  columns,  the  wall  rib  being  carried  by  a  corbel.  The  exterior  is  notable  for  the 
flying  buttresses,  one  of  the  earliest  examples  of  this  feature.  The  towers  which  for- 
merly flanked  the  apse  exist  no  longer.  (St.  Paul;  Von  Bezold;  Moore,  Goth.  Arch., 
98;  Lenoir.) 

St.  Mariin-dcs-Champs.  (111.  172,  261,  262.)  There  is  no  documentary  evi- 
dence for  the  date  of  this  important  priory,  but  the  lady  chapel  and  the  ambulatory 
—  the  most  interesting  parts  —  are  assigned  to  c.  1136  by  M.  Lefevre-Pontahs.  The 
chevet,  whose  plan  is  prolonged  beyond  the  semicircle,  is  formed  of  seven  arcades 
opening  upon  the  double  ambulatory  and  its  chapels.  Unequal  vaulting  spaces  in 
this  ambulatory  are  avoided  by  doubling  the  number  of  the  outer  supports,  as  at 
Aachen,  the  resulting  alternately  triangular  and  rectangular  spaces  being  covered 
with  groin  vaults.  The  vault  of  the  chevet,  supported  on  eight  radiating  ribs,  is  per- 
haps somewhat  later,  but  the  plan  of  the  piers  proves  that  it  was  foreseen  from  the 
beginning.  The  domed  apse  of  the  lady  chapel  is  divided  into  three  gore-shaped  cells 
by  ribs,  and  supplies  a  most  important  step  in  the  evolution  of  the  chevet  vault.  The 
radiating  chapels  are  divided  each  into  two  sections  as  at  Pontoise.  The  nave  of  a 
single  aisle  is  covered  with  a  timber  roof;  its  windows  are  filled  with  rayonnant  tra- 
cery. (Von  Bezold,  163;  Moore,  Goth.  Arch.,  70;  Lefevre-Pontahs,  Arch.  Rel.,  84; 
St.  Paul;  Lenoir.) 

St.  Pierre  de  Monimartre.  The  monastery  is  said  to  have  been  founded  in  1133, 
but  the  church  was  consecrated  only  in  1147.  The  three  aisles  were  originally  roofed 
in  wood,  and  the  three  apses  (there  was  no  ambulatory)  covered  with  half-domes. 
At  present  the  nave  is  supplied  with  vaults  of  the  XV  century;  the  side  aisles  are 
still  roofed  in  timber,  but  the  central  apse  is  crowned  by  a  rib  vault  of  the  end  of  the 
Xn  century.     (St.  Paul.) 

St.  Auhin.  Debris  belonging  to  this  church  may  still  be  seen  in  the  house  bear- 
ing the  number  19,  Rue  des  Lrsins.  The  monument  is  said  to  have  been  erected 
about  1110  or  1120  by  the  arch-deacon,  Etienne  de  Garlande;  in  1123,  at  the  time  of 
the  death  of  bishop  Gerbert,  a  priest  was  already  in  charge  of  the  parish.  The  edi- 
fice consisted  of  a  nave  three  bays  long  and  a  half-domed  apse.     AU  the  arches  were 

214 


MONUMENTS   OF   THE   SECOND   CLASS 

semicircular.  One  of  the  transverse  arches  which  spans  the  single  bay  still  intact 
rests  on  capitals  decorated  with  fine  acanthus  foliage.  (Lefevre-Pontahs,  Arch. 
Rel,  II,  84.) 

LAON,  Aisne,  St.  Martin.  There  is  no  documentary  evidence  for  the  date 
of  this  church,  which  has  been  assigned  to  as  early  as  1140  by  Vitet,  though,  as  M. 
Lefevxe-Pontalis  has  clearly  shown,  it  must  belong  to  the  second  half  of  the  XII  cen- 
tury, and,  more  precisely,  may  be  assigned  to  c.  1165.  The  low  choir  and  the  fa9ade 
are  of  course  additions  of  the  XIV  century.  The  edifice  consists  of  a  nave,  two  side 
aisles,  two  towers  flanking  the  nave  to  the  westward  of  the  transepts  —  an  exceptional 
disposition,  —  salient  transepts  with  eastern  absidioles,  and  a  square  choir.  The 
nave  is  very  severe  —  the  archivolts  in  two  unmoulded  orders  rest  upon  simple  im- 
posts crowning  the  piers,  for  there  are  no  capitals;  the  triforium  is  omitted;  the  clear- 
story is  pierced  by  a  plain  round-headed  window  in  each  bay,  and  is  covered  with 
quadripartite  rib  vaults.  There  is  no  wall  rib;  the  system  is  logical  and  continuous; 
the  capitals  of  the  diagonal  shafts  are  set  square  instead  of  being  placed  at  an  angle 
—  an  awkward  construction  somewhat  relieved,  however,  by  the  fact  that  the  ribs  are 
stilted;  the  arches  are  all  pointed.  Externally,  the  nave  is  provided  with  flying  but- 
tresses, which  I  believe  to  belong  to  the  original  construction,  although  this  has  been 
questioned.  Ths  fa9ade,  with  its  two  turrets  and  deeply  recessed  rayonnant  window, 
is  a  fanciful  and  somewhat  restless  design  of  the  later  Gothic  period. 

St.  Martin-au-Panns.  This  little  church,  which  consists  of  a  nave  of  the  XII 
century,  a  choir  and  a  triangular  apse  of  the  XIII  century,  still  exists,  though  it 
has  been  much  modernized.       (Marquiset.) 

Cliapelle  des  Templiers.  Since  it  is  known  that  the  order  of  the  Templars  estab- 
lished a  commandery  at  Laon  in  1134,  we  may  follow  M.  Lefevre-Pontalis  in  assign- 
ing this  curious  little  structure  to  c.  1135.  The  chapel  consists  of  an  octagonal  nave 
covered  with  a  cloistered  vault,  preceded  by  a  rib-vaulted  rectangular  narthex  and 
followed  by  a  groin-vaulted  choir  and  a  semicircular  apse.  The  arches  are  round; 
the  buttresses  end  in  shafts  as  at  St.  Etienne  of  Beauvais;  and  the  cornice  is  formed 
of  a  triangular  shaped  corbel-table. 

ETAMPES,  Seine-et-Oise.  St.  Martin  consists  of  a  nave  four  bays  long,  two 
side  aisles,  non-projecting  transepts,  a  semicircular  chevet,  an  ambulatory,  and  three 
radiating  chapels.  The  upper  portions  of  the  chevet  have  been  rebuilt,  but  the  am- 
bulatory, assigned  to  c.  1165  by  M.  Lefevre-Pontalis,  is  still  intact.  The  rib  vaults 
of  the  nave  have  been  replaced  by  modern  wooden  imitations,  except  in  the  two  wes- 
ternmost bays.  These  bays  date  from  1213,  but  the  third  and  fourth  bays  and  the 
flying  buttresses  were  erected  in  the  third  quarter  of  the  XII  century.  The  alternate 
piers  of  the  chevet  carry  single  shafts  supporting  the  vault  whose  wall  ribs  are  not 
stilted.  In  the  ambulatory,  on  the  other  hand,  there  are  no  wall  ribs  at  all.  The 
design  of  the  nave  is  characterized  by  a  gallery,  the  absence  of  a  triforium,  a  clear- 
story composed  of  lancet  windows,  and  main  arcades  in  two  non-concentric  orders. 
(Lefe\Te-Pontalis ;  Johnson.) 

Notre  Dame.  This  church  was  covered  with  a  wooden  roof  until  VioUet-le-Duc 
erected  the  existing  vaults.     M.   Lefevre  assigns  the  base  of   the  tower  to  c.  1050, 

215 


TRANSITIONAL   MONUINIENTS 

the  first  story  to  about  the  same  time,  the  second  and  third  stories  to  c.  107o. 
the  fourth  story  to  c.  1125,  the  fleche  to  c.  1130.  The  rectangular  choir  is  as- 
signed to  c.  1170  by  M.  Lefe\Te-Pontans. 

St.  Basile,  an  edifice  rebuilt  in  1497,  it  is  said,  retains  a  portal  of  the  XII  century. 
The  monument  consists  of  a  nave,  two  side  aisles,  a  complete  set  of  lateral  chapels, 
a  central  tower  of  the  XIII  century,  and  a  rectangular  choir.     (Marquis.) 

St.  Gilles.  The  nave  —  except  the  modern  vaults  —  and  the  central  tower  date 
from  the  XII  century;  but  the  square  choir,  the  side  aisles,  and  the  chapels,  were 
erected,  it  is  said,  in  1547.     (Marquis,  245.) 

Monuments  of  the  Third  Class 

CAMBRONNE,  Oise.  Eglise.  Among  other  benefits  confirmed  to  the  abbey 
of  St.  Paul  in  a  charter  '  of  Eudes  III,  bishop  of  Beauvais  (1144^8),  is  specifically 
mentioned  the  right  of  patronage  over  the  church  of  Cambronne.  This  right, 
^Yoillez  conjectures,  was  probably  given,  as  was  then  the  custom,  in  return  for  new 
constructions,  financed  by  the  monks,  and  this  hypothesis  is  confirmed  by  the  style 
of  certain  portions  of  the  existing  church,  which  must  date  from  about  the  middle 
of  the  XII  century.  The  only  other  documentar}-  evidence  bearing  upon  the  his- 
tory of  the  monument  is  a  piece  of  parchment  manuscript  found  in  a  corner  of  the 
sacristy  and  published  by  Woillez:  "In  the  year  1239  this  temple  was  dedicated  to  St. 
Stephen.""  This  text  must  refer  to  the  choir,  which  is  Gothic  in  style.  From 
the  internal  evidence  of  the  building  itself  it  is  evident  that  the  outside  wall 
of  the  north  aisle,  the  tower,  and  the  transepts  are  the  earliest  portions  of  the 
existing  structure,  and  doubtless  belong  to  the  edifice  of  c.  1148.  The  upper 
portions  of  the  nave  are  even  later  than  the  choir,  for  the  trace  of  the  primitive 
gable  may  till  be  seen  on  the  wall  of  the  tower.  The  existing  structure  consists 
of  a  nave  loftier  than  the  choir,  two  side  aisles,  a  central  tower,  non-projecting 
transepts,  and  a  choir  four  bays  long  ending  in  a  square  east  end.  Quadri- 
partite rib  vaults  without  wall  ribs  crown  the  nave,  which  is  characterized  by  round 
windows,  elliptical  arched  corbel-tables,  salient  buttresses  of  several  ressauts,  a  logi- 
cal and  continuous  system,  developed  mouldings,  and  the  absence  of  a  triforium. 
A  fine  spire  crowns  the  octagonal  tower,  which  is  decorated  with  round  and  pointed 
arches,  shafted  corners,  rich  mouldings,  arched  corbel-tables,  etc.  The  system  of 
the  choir  is  similar  to  that  of  Amiens  except  that  there  are  two  extra  shafts  to  carry 
the  archivolt.  The  triforium  and  the  clearstory  (which  is  very  low)  are  combined 
into  a  single  composition.  (Woillez;  Johnson;  Arch,  de  la  Com.  des  Mon.  Hist. 
I,  22.) 

ATJVTRS,  Seine-et-Oise.  Eglise  (111.  174)  was  doubtless  reconstructed  soon 
after  it  was  presented  by  Louis  VI  to  the  abbey  St.  Vincent  of  SenUs  (1131).     Of 

1  Printed  by  Louvet. 

=  The  text  in  full  is  as  follows:  Gregorio  nono  papa,  metropolitano  Henrico  Reniis, 
Ludovico  rege,  Mathildis  Alfonso  sponso  comitisse  Bolouiensis,  presbiterio  plebis  Guerrico 
Camberonensis,  in  festo  sacri  Benedict!,  mense  decembri,  anno  milleno  ducento  quadrageno 
uno  subtracto  fuit  a  pastore  Roberto  Belvaci  hoc  templum  sancto  Stephano  didicatum. 

216 


MONUMENTS   OF  THE   THIRD   CLASS 

this  period  there  survive,  however,  only  the  httle  absidiole  to  the  north  of  the  choir 
and  the  apse  itself.  The  existing  edifice  consists  of  a  nave,  tvco  side  aisles,  transepts, 
a  Gothic  central  tower,  a  choir  flanked  by  two  absidioles,  and  a  southern  Lady  Chapel 
rebuilt  in  the  early  part  of  the  XVI  century.  The  nave,  which  is  vaulted  with  quadri- 
partite rib  vaults,  must  date  from  the  end  of  the  XII  century,  for  it  is  characterized 
by  a  lancet  clearstory,  a  continuous  triforium,  flying  buttresses,  and  a  system  rising 
from  the  abaci  of  the  round  piers.  Auvers  contains  one  of  the  earliest  extant  ex- 
amples of  a  polygonal  apse;  this  is  vaulted  with  two  ribs  converging  on  the  keystone 
of  the  triumphal  arch.  The  windows  were  enlarged  and  filled  with  tracery  in  the 
rayonnant  period.  (Lefevre-Pontalis,  Arch.  Rel.  I,  87;  Arch,  de  la  Com.  des  Mon. 
Hist.  I,  45.) 

CREIL,  Oise.  St.  Evremont.  This  desecrated  and  much  ruined  church,  which 
is  assigned  by  M.  Lefevre-Pontalis  to  a  date  "not  earlier  than  1140,"  is  a  homogeneous 
edifice  of  the  XII  century  that  has  sufi'ered  little  from  later  alterations.  A  continu- 
ous and  logical  system  '  supports  the  oblong  quadripartite  rib  vaults,  of  which  the 
wall  ribs  are  much  stilted ;  the  abaci  of  the  triforium  capitals  are  continued  as  a  string- 
course to  form  the  capitals  of  the  vaulting  shafts;  the  crowns  of  the  vaulting  arches 
all  rise  to  nearly  the  same  level;  under  the  aisle  roofs  are  concealed  flying  buttresses. 
To  the  eastward  the  church  terminates  in  an  apse  of  horseshoe  form  which  opens 
directly  upon  the  nave,  transepts  being  omitted.  Externally  the  ponderous  charac- 
ter of  Romanesque  work  survives,  in  strong  contrast  to  the  interior  which  possesses 
all  the  essential  members  and  dispositions  of  a  Gothic  design.  The  rich  ornament 
is  remarkable  for  the  absence  of  the  chevron.     (Moore,  101;  Woillez,  37;  Johnson.) 

St.  Medard,  notable  for  the  flamboyant  tower  of  1551,  is  a  strangely  unsymmet- 
rical  structure  largely  of  the  Gothic  period.     (Woillez,  37.) 

BURY,  Oise.  Eglise.  (III.  170,  209.)  "There  is  systematic  use  of  the  pointed 
arch,  still  the  building  is  clearly  one  of  the  earliest  steps  in  the  transition.  It  is  thought 
by  Lefevre-Pontalis  to  be  certainly  posterior  to  1125.  It  can,  however,  hardly  be 
much  later  than  this.  The  system  is  uniform  with  quadripartite  vaulting,  the  com- 
partments of  the  nave  being  square,  or  nearly  so,  while  those  of  the  aisles  are  neces- 
sarily of  oblong  rectangular  form.  The  aisle  vaults  are  all  pointed  and  all  except  the 
wall  arch  are  provided  with  ribs.  A  curious  experiment  is  tried  to  make  the  ridges 
of  the  vaults  approximately  level.  Above  the  transverse  arches  is  inserted  a  section 
of  wall,  making  thus,  in  eilect,  the  transverse  arches  sufiiciently  thick  to  fill  up  the 
embarrassing  space."  ^  M.  Lefevre-Pontalis  believes  that  the  vaults  were  added  to 
the  original  construction  subsequently  to  its  completion  c.  1125.'  The  decoration 
consists  of  double  arched  corbel-tables  and  heavy  chevrons  carved  upon  the  archi- 
volts.     (Woillez.) 

ST.-LOUP-DE-NAUD,  Seine-et-Marne.  Eglise.  This  cruciform  edifice, 
whose  central  lantern  is  supported  on  squinches,  is  assigned  by  M.  Lefevre-Pontalis 
to  the  middle  of  the  XII  century.     The  nave  system  is  alternate:  the  first  bay  is  cov- 

1  Except  in  the  easternmost  (earliest)  bay. 

2  Moore,  Gothic  Architecture,  p.  67. 

3  Arch.  Rel.  II,  83. 

217 


TRANSITIONAL   MONUMENTS 

ered  with  a  groin  vault,  the  second  with  a  rib  vault;  the  third  and  fourth  bays  with  a 
single  quadripartite  rib  vault,  evidently  made  over  in  the  second  half  of  the  XII  cen- 
tury. The  arches  are  all  round,  the  archivolts  are  in  two  orders.  Externally  the 
edifice  is  notable  for  the  portal,  a  very  rich  example  of  the  sculpture  of  the  late  XII 
century.     (Aufavre  et  Fichot.) 

PROVINS,  Seine-et-Marne.  St.  Quiriace.  (111.  178.)  Of  the  edifice  said  to 
have  been  begun  by  Henri-le-Liberal,  count  of  Provins  about  1160,'  only  the  choir 
survives.  An  historical  notice  recording  that  works  were  in  progress  in  1238  must 
have  reference  to  the  nave,  which  is  Gothic  in  style.  Most  peculiar  is  the  extension 
of  the  idea  of  the  alternate  system  and  sexpartite  vault  to  the  extent  of  including  the 
three  bays  of  the  choir  in  a  single  vaulting  compartment  that  consequently  becomes 
octopartite.  This  choir  terminates  in  a  semicircular  chevet,  and  is  supplied  with 
round  piers;  it  is  surrounded  by  a  rectangular  ambulatory  from  which  open  three 
eastern  rectangular  chapels.  Round  arches  occur  in  triforium  and  clearstory.  The 
system  is  logical;  the  intermediate  shafts  rest  on  the  abaci  of  the  round  piers,  the 
alternate  supports  have  a  continuous  system  with  an  extra  shaft  for  the  second  order 
of  the  transverse  rib.  This  rib  is  ornamented  with  a  chevron.  There  is  no  wall 
rib.  The  eastern  bay  of  the  nave  is  now  covered  with  a  dome,  the  western  with  two 
quadripartite  vaults.     (Von  Bezold.) 

St.  Ayoul,  notwithstanding  the  round  arches  of  the  triforium,  is  a  building  of 
the  end  of  the  XII  century.  The  supports  are  very  low  cylindrical  piers  with  engaged 
colonnettes;  from  the  abaci  rise  three  vaulting  shafts,  although  the  vaults  of  the  nave 
seem  to  have  been  executed  only  in  modern  times.  The  lofty  triforium  is  treated 
with  great  charm,  but  the  clearstory  is  reduced  to  a  series  of  oculi.  (Gurlitt;  Von 
Bezold.) 

MASSAY,  Cher,  xibbaye  St.  Martin  consists  of  a  single-aisled  nave  two  bays 
long,  a  choir  vaulted  with  much  domed  rib  vaults,  and  a  semicircular  apse  covered 
with  a  half -dome  preceded  by  a  barrel  vault.  The  system  is  logical  and  continuous; 
the  windows  are  round-headed.  The  decoration  in  chevrons,  etc.,  is  very  rich.  M. 
de  Kersers  assigns  this  important  httle  monument  to  the  middle  of  the  XII  century 
and  considers  it  the  earliest  example  of  Gothic  art  in  the  departement  of  Cher.  It 
must  at  least  date  from  the  third  quarter  of  the  XII  century.     (De  Kersers  VII,  303.) 

Eglise.  Certain  fragments  of  XII  century  architecture  that  still  survive  prove 
the  original  construction  must  have  been  contemporary  with  that  of  the  abbey,  but 
the  edifice  was  entirely  reconstructed  at  the  end  of  the  XV  century.  It  consists  of  a 
single-aisled  nave  and  a  five-sided  apse,  and  is  entirely  roofed  in  timber.  A  stone 
built  into  the  fine  tower  which  flanks  the  west  fafade  bears  this  inscription:  "The 
reverend  father  in  God,  Brother  Bertrand  de  Chamborand,  venerable  abbot  of  the 
abbey  of  Massay,  caused  this  tower  to  be  erected  in  the  year  1493.^  "  (De  Kersers 
VII,  305.) 

AECY-STE.-RESTITUTE,  Aisne.     Eglise  consists  of  a  nave  four  bays  long, 

'  Felix  Bourquelot,  Hist,  de  Provins  I,  pp.  129-338,  cit.  Von  Bezold. 
-  "  Reverend  Pere  en  Dieu,  Frere  Bertrand  de  Chamborant,  venerable  abbe  de  I'abbaye  de 
Massay  a  fait  faire  ceste  presente  tour  I'an  mil  CCCCLXXX  et  treize." 

218 


OTHER   MONUMENTS 

two  side  aisles,  and  a  polygonal  choir.  The  nave  erected  c.  1180  was  much  altered 
in  the  XVI  century.  In  the  XII  century  it  was  covered  with  quadripartite  rib  vaults 
each  of  which  was  square  in  plan  and  embraced  two  bays,  as  is  indicated  by  the  alter- 
nation of  coupled  columns  ^  and  piers,  the  disposition  of  the  windows,  and  the  spacing 
of  the  flying  buttresses.  The  system  was  logical  and  continuous,  with  the  exception 
of  the  wall  shaft  which  rose  from  the  triforium  string.  The  main  arcade  was  pointed 
and  in  two  unmoulded  orders;  the  large  triforium  was  characterized  by  round  open- 
ings and  rich  projecting  mouldings.  Above  was  a  small  clearstory  reinforced  by 
flying  buttresses  simple  and  massive  in  design,  but  scientifically  adjusted.  These  dis- 
positions were  all  altered  in  the  XVI  century,  though  ample  indications  for  a  restora- 
tion survive,  the  north  aisle  still  retaining  a  vault  and  three  arches  of  the  edifice  of 
c.  1180.  The  choir,  however,  is  wholly  of  the  XVI  century.  (Lefevre-Pontahs, 
Arch.  Rel.  II,  117.) 

ANGICOURT,  Oise.  Eglise.  The  most  ancient  portions  are  the  rectangular 
choir,  the  crossing,  and  the  south'  transept;  the  nave  and  the  side  aisles,  which  are 
somewhat  later,  may  be  assigned  to  the  first  years  of  the  XIII  century,  while  the  upper 
portion  of  the  tower  and  the  north  transept  belong  to  the  late  rayonnant  period.  The 
plan  is  unusually  broad  in  proportion  to  its  length,  and  this  effect  of  width  is  increased 
by  the  square  transeptal  absidioles  which  are  almost  like  eastern  transeptal  side  aisles. 
Sexpartite  vaults  supported  on  an  alternate  system  cover  the  nave;  these  vaults  are 
at  present  abutted  by  flying  buttresses  well  developed,  but  all  uniformly  heavy,  but 
the  original  flying  buttresses  were  concealed.  The  system  of  three  shafts  rises  from 
the  capitals  of  the  alternate  piers  to  support  the  five  ribs ;  in  the  intermediate  piers  the 
waU  shafts  rising  from  the  capitals  of  the  main  arcade  receive  capitals  only  at  the 
top  of  the  stilting.  Externally  the  edifice  is  characterized  by  a  western  porch,  a  cen- 
tral tower,  pointed  arches,  and  Gothic  details.  (Baudot;  Arch,  de  la  Com.  des  Mon. 
Hist.  I,  37.) 

Other  Monuments 

AIZY,  Aisne.  St.  Medard,  which,  according  to  M.  Lefevre-Pontalis,  was  erected 
in  the  last  third  of  the  XII  century,  and  rebuilt  c.  1200,  consists  of  a  nave,  two  side 
aisles,  transepts,  and  a  rectangular  choir.  The  wooden-roofed  nave,  four  bays  long, 
dates  entirely  from  the  early  XIII  century,  and  is  characterized  by  pointed  arcades, 
piers  on  which  four  columns  and  four  colonnettes  are  engaged,  crocketed  capitals, 
and  shafts  that  were  evidently  intended  to  carry  vaulting  ribs.  The  side  aisles,  con- 
temporary with  the  nave,  are  supplied  with  isolated  transverse  arches  and  round- 
headed  windows.  A  rib  vault  of  c.  1175  surmounts  the  crossing.  The  transepts 
are  evidently  constructions  added  to  the  original  edifice  in  the  XIII  century.  The 
choir,  which  may  be  assigned  to  c.  1180,  is  covered  with  rib  vaults  without  wall  ribs. 
Externally  this  choir  is  characterized  by  buttresses  in  three  ressauts  and  by  round  and 
pointed  windows;  one  of  the  latter  is  surmounted  by  a  sort  of  gable  sustained  by  a 
pier  whose  angles  are  shafted.     The  central  tower,  commenced  soon  after  the  com- 

^  These  columns  are  coupled  in  the  longitudinal  sense  as  at  Sens. 
219 


TRANSITIONAL   MONUMENTS 

pletion  of  the  choir,  has  never  been  finished.  The  fa9ade  is  of  the  XIII  century. 
(Lefe-sTe-Poutalis,  Arch.  Rel.  II,  U\.) 

JUZIERS,  Seine-et-Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts, 
a  choir,  and  a  semicircular  apse.  A  double  row  of  arcades  are  carried  completely 
around  the  apse  so  as  to  produce  the  effect  of  an  ambulatory  —  a  disposition  analo- 
gous to  the  choir  of  Ste.  Trinite  of  Caen  and  other  Norman  buildings.  This  portion 
of  the  edifice  —  which  must  date  from  the  last  quarter  of  the  XII  century  —  is  cov- 
ered with  a  radiating  rib  vault.  The  wall  ribs  and  the  windows  are  semicircular, 
but  the  arcades  are  pointed.  The  wooden-roofed  nave  is  characterized  by  round 
arches,  rectangular  piers,  and  severely  simple  square  profiles:  it  may  be  assigned 
to  the  first  years  of  the  XII,  or  even  the  end  of  the  XI  century.  (Arch,  de  la  Com. 
des  Mon.  Hist.  I,  12.) 

GENOUILLY,  Cher.  Eglise,  one  of  the  most  interesting  rural  churches  in 
the  departement  of  Cher,  is  a  fine  example  of  the  transition  in  Berry.  The  original 
edifice  consisted  of  a  semicircular  apse,  a  choir  almost  square,  a  wooden-roofed  nave 
of  a  single  aisle,  a  western  narthex  tower,  and  two  chapels  added  in  the  XVI  century. 
The  apse  vault  is  supported  by  three  radiating  ribs,  but  the  crowns  of  the  vault  com- 
partments fall  towards  the  outer  edge.  The  choir  is  covered  with  a  highly  domed 
rib  vault.     (De  Kersers  TV,  159.) 

CAUFFRY,  Oise.  Eglise.  The  nave  may  be  assigned  to  the  XI  century, 
the  tower  and  the  choir  to  c.  1145;  the  single  side  aisle  is  a  comparatively  modern 
addition.  The  XII  century  edifice  consisted  of  a  single-aisled  nave,  a  central  tower, 
and  a  rectangular  choir  two  bays  long.  The  nave  is  roofed  in  wood;  the  choir  is 
covered  with  pointed  rib  vaulting.  Externally,  the  choir  and  tower  are  ornamented 
with  arched  corbel-tables;  the  tower  windows  are  in  several  orders,  shafted  and 
richly  moulded;  the  buttresses  are  broken  by  ressauts.     (Woillez;  Johnson.) 

LAFFAUX,  Aisne.  Notre  Dame.  The  original  edifice  consisted  of  a  nave, 
two  side  aisles,  a  central  tower,  and  a  semicircular  apse.  The  northern  transept 
was  added  in  the  XIII  century,  the  southern,  in  the  X^^  century.  The  wooden-roofed 
nave  of  c.  1140  is  four  bays  long,  and  is  characterized  by  pointed  arcades  whose  extra 
orders  are  supported  on  columns  engaged  on  the  piers.  Also  of  c.  1140  is  the  highly 
domed  rib  vault  that  rises  over  the  crossing;  this  vault  is  supplied  with  wall  ribs  and 
pointed  arches.  The  transepts  are  both  vaulted.  A  ribbed  haU-dome,  dating  from 
c.  1150,  surmounts  the  apse,  and  is  buttressed  externally  by  groups  of  shafts  with 
capitals.  The  central  tower  of  about  the  same  time  has  no  buttresses,  but  its  angles 
are  shafted,  and  its  windows  adorned  with  elaborate  projecting  mouldings.  This 
church  is  one  of  the  best  examples  of  the  rural  architecture  of  the  XII  century  in  the 
Soissonnais.     (Lefevre-Pontalis,  Arch.  Rel.  11,  56.) 

CERNY-EN-LAONNAIS,  Aisne.  Eglise,  has  been  assigned  to  the  VI  century 
by  Fleury  and  to  the  first  years  of  the  XII  century  by  M.  Lefe\Te-Pontalis,  though 
it  may  well  be  doubted  if  the  oldest  portions  be  not  as  old  as  the  XI  century.  The 
edifice  consisted  of  a  nave,  two  side  aisles,  and  three  apses  one  of  which  has  been 
destroyed.  The  apses  are  covered  with  half -domes,  the  choir  with  a  barrel  vault; 
but  the  interest  of  this  church  centers  chiefly  in  the  transverse  arches  which  span  the 

220 


OTHER   MONUMENTS 

nave  and  side  aisles  and  support  the  timber  roof.  Externally  the  structure  is  charac- 
terized by  a  central  western  tower,  a  curious  western  narthex  occupying  the  first  bay 
of  the  nave,  and  very  rough  masonry.     (Fleury  II,  29.) 

CATENOY,  Oise.  Abhaye.  The  central  tower  which  is  probably  the  oldest 
part  of  the  existing  edifice  may  be  assigned  to  c.  1100.  About  1160  the  remainder 
of  the  church  was  entirely  rebuilt.  This  structure  of  the  second  half  of  the  XII  cen- 
tury consisted  of  a  single-aisled  nave,  transepts,  and  a  rectangular  choir;  the  piers 
of  the  central  tower  were  placed  inside  of  the  nave  walls,  leaving  a  passage  from  the 
have  directly  to  the  transepts.  This  disposition,  unique  in  the  He  de  France,  may 
be  paralleled  in  Normandy  and  Berry.  In  the  XIII  century  a  single  side  aisle  was 
added.  The  church  to-day  is  of  interest  chiefly  for  the  barrel  and  rib  vaults  which 
surmount  the  crossing  and  choir  respectively  —  the  transepts  and  nave  are  roofed  in 
timber  —  and  for  the  main  portal  richly  decorated  in  six  orders.     (Woillez.) 

AZY-BONNEIL,  Aisne.  Eglise,  which  originally  consisted  of  a  nave,  two  side 
aisles,  and  a  rectangular  choir  "surmounted  by  a  tower,  was  twice  rebuilt  —  once  at 
the  end  of  the  XII  century  aud  again  in  the  Gothic  period.  The  existing  nave,  which 
dates  entirely  from  the  first  years  of  the  XIII  century,  is  roofed  in  wood;  the  archi- 
volts  of  the  four  great  pointed  arches  of  each  side  are  received  on  crocketed  capitals; 
each  pier  is  surrounded  by  six  engaged  colonnettes;  round-headed  windows  are  pierced 
in  the  clearstory  on  the  axis  of  each  pier.  The  aisles  and  their  plaster  vaults  have 
been  remade  in  modern  times.  Beneath  the  tower  is  a  rib  vault,  probably  built  c. 
1170  to  replace  the  original  barrel  vault.  About  1175  the  old  square  east  end  was 
replaced  by  a  polygonal  apse.  The  vault  of  this  apse  is  Gothic  in  character,  but  has 
no  wall  ribs;  the  windows  are  round-headed.  In  1250  the  second  bay  of  the  choir 
was  made  the  center  of  a  new  transept.  The  fa9ade  contains  some  debris  —  notably 
the  portals  —  of  an  earlier  building  of  the  first  quarter  of  the  XII  century,  to  which 
the  tower  (c.  1115)  also  belonged.     (Lefevre-Pontalis  II,  119.) 

JUVIGNY,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  a  broad  transept 
later  than  the  rest  of  the  construction,  and  a  semicircular  apse.  The  nave,  assigned 
to  c.  1110  by  M.  Lefevre-Pontalis,  is  four  bays  long  and  covered  with  a  wooden  ceil- 
ing; the  rectangular  piers  support  round  arches;  the  clearstory  windows  have  been 
walled  up.  The  side  aisles  which  are  not  vaulted  have  been  reconstructed  in  mod- 
ern times.  A  semicircular  arch  of  triumph  in  two  orders  separates  the  groin-vaulted 
crossing  —  which  is  part  of  the  primitive  construction  —  from  the  nave.  This  cross- 
ing was  merely  a  bay  of  the  choir  until  about  1210,  when  the  existing  rib-vaulted 
transepts  were  added.  The  apse  covered  with  a  half -dome  and  the  octagonal  central 
tower  are  contemporary  with  the  rest  of  the  church.  (Lefevre-Pontalis,  Arch.  Rel. 
11,52.) 

CHAVIGNY,  Aisne.  Eglise  consists  of  a  nave,  very  salient  transepts,  a  central 
tower,  and  a  semicircular  apse.  The  nave,  with  wooden  ceiling,  has  been  almost 
entirely  rebuilt  in  modern  times;  the  side  aisles  which  were  built  to  flank  it  in  the  XIII 
century  have  been  suppressed.  The  half -domed  apse  which  is  assigned  to  c.  1110 
by  M.  Lefevre-Pontalis  is  reinforced  externally  by  four  buttresses  surmounted  by  an 
engaged  half-column  without  capital.     Probably  the  well-preserved  fa9ade  and  the 

221 


TRANSITIONAL   MONUMENTS 

tower  are  contemporary,  but  the  vault  of  the  crossing  was  remade  in  the  XIII  century. 
(Lefevre-PontaHs,  Arch.  Rel.  II,  34.) 

COULOGNES,  Aisne.  Eglise  consists  of  a  nave  four  bays  long,  two  side  aisles, 
transepts,  a  large  choir,  and  a  polygonal  apse  rebuilt  in  the  Wl  century.  The  nave, 
erected  in  the  second  quarter  of  the  XII  century,  was  originally  supplied  with  a  wooden 
ceihng,  but  this  was  replaced  c.  1170  by  tlie  existing  rib  vaults,  which  are  supported 
on  a  logical  and  continuous  system  of  five  shafts.  The  ancient  piers  consisted  of  a 
central  core  flanked  by  three  shallow  pilasters.  Towards  the  nave  the  pier  was  flat: 
the  pilaster  facing  the  aisle  supported  an  isolated  transverse  arch.  The  aisle  vaults 
were  erected  at  the  same  time  as  those  of  the  nave,  but  the  vaults  of  the  transepts  are 
modern.  As  for  the  transepts  themselves,  they  are  the  oldest  part  of  the  church  and 
may  be  assigned  to  c.  1130.  A  pointed  barrel  vault  covers  the  crossing.  The  ex- 
terior is  notable  for  the  facade  of  c.  1135,  and  for  the  absence  of  flying  buttresses  — 
an  absence  the  more  remarkable  that  the  clearstory  is  rather  high.  (Lefe^Te-Pon- 
taHs,  Arch.  Rel.  II,  137.) 

BUSSAERES,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  a  choir,  and  a 
semicircular  apse.  The  nave,  three  bays  long,  is  covered  with  a  wooden  ceiling,  and 
is  characterized  by  shafts  added  to  the  piers  in  the  XVI  century  with  the  idea  of 
constructing  vaults,  which,  however,  have  never  been  erected;  bj'  archivolts  in  two 
orders;  and  by  cruciform  piers.  This  nave,  as  well  as  its  choir,  is  assigned  to  c.  1160 
by  M.  Lefe\Te-Pontalis.  The  pilasters  engaged  on  the  side  of  the  piers  facing  the 
side  aisles  fulfil  the  function  of  true  buttresses  and  end  in  a  splayed  surface.  The 
walls  of  the  aisles  have  been  rebuilt  in  modern  times.  A  rib  vault  with  a  complete 
set  of  ribs  surmoimts  the  choir;  the  apse  is  supplied  with  a  true  Gothic  radiating 
vault.  Externally,  the  great  round-arched  portal  must  date  from  the  earliest  j'ears 
of  the  XII  century;  the  tower  is  modern.     (Lcfe\Te-Pon talis.  Arch.  Rel.  II,  131.) 

BEAUFORT-EN-SANTEREE.  Somme.  Eglise,  erected  in  the  XII,  was 
largely  reconstructed  at  the  end  of  the  X\T  century.  It  consisted  originally  of  a 
square  choir  of  a  single  bay,  transepts,  and  a  nave  four  bays  long,  but  two  side  aisles 
and  a  southwestern  tower  were  added  in  the  flambo3'ant  period.  The  crossing  and 
choir  were  the  only  portions  of  the  edifice  supplied  with  vaults;  they  are  ornamented 
externally  with  arched  corbel-tables  and  rich  mouldings  of  advanced  character.  The 
nave  has  no  system;  the  archivolts  are  in  two  orders;  the  clearstory  windows  are 
round-headed.  This  part  of  the  edifice  is  assigned  by  ^I.  Enlart  to  the  second  half 
of  the  XII  century,  and  the  western  portal  to  1170-90.     (Enlart,  L'Arch.  Rom.,  66.) 

VILLERS-ST.-PAUL,  Oise.  Abbaye.  The  most  interesting  portion  of  this 
church,  the  nave,  dates  from  the  XII  century.  It  was  originally  spanned  by  three 
transverse  arches,  buttressed  externally,  and  one  of  these  still  survives.  This  nave 
is  further  characterized  by  a  wooden  roof,  pointed  archivolts  in  two  unmoulded  orders 
of  which  the  lower  is  supported  on  colonnettes  engaged  on  the  piers,  and  round- 
headed  clearstory  windows.  The  exterior  is  ornamented  with  arched  corbel-tables, 
frets,  and  chevrons;  the  west  portal  is  very  rich,  the  fa9ade  is  pierced  by  pointed 
lancets.  The  transepts  and  tower  date  from  the  XIII  century,  and  the  transept  win- 
dows are  filled  with  fine  plate  tracery.     (Woillez  V,  1 ;  Johnson.) 

222 


OTHER   MONUMENTS 

FONTENOY,  Aisne.  St.  Remi  consists  of  a  nave,  two  side  aisles  which  are 
continued  to  flank  the  choir,  a  lateral  tower  erected  subsequently  to  the  original  con- 
struction, a  choir,  and  a  semicircular  apse.  The  nave  covered  with  a  wooden 
ceiling  is  four  bays  long,  and  is  assigned  by  M.  Lefevre-Pontalis  to  c.  1110;  the  great 
arches  of  the  main  arcade  are  semicircular  and  rest  on  rectangular  piers.  The  east- 
ern bay  of  the  side  aisle,  reconstructed  about  1140  when  the  lower  portions  of  the  tower  * 
were  built,  is  covered  with  a  rib  vault.  A  barrel  vault  terminating  in  the  half-dome 
of  the  apse  surmounts  the  choir.  The  western  portal  is  contemporary  with  the  nave. 
The  ornament  of  this  church  is  peculiar,  especially  the  double  chevrons  of  the  tri- 
umphal arch  and  the  exterior  string-courses.     (Lefevre-Pontalis  II,  49.) 

BfiTHISY-ST.-MARTIN,  Oise.  Eglise.  (111.  187.)  This  edifice  of  the  XII 
century,  altered  in  the  XIII,  XIV,  and  XV  centuries,  consists  of  a  nave,  two  side  aisles, 
which  are  prolonged  to  flank  the  choir,  a  lateral  tower,  and  a  rectangular  choir.  In 
the  XII  century  the  side  aisles  did  not  extend  farther  than  the  first  bay  of  the  choir, 
which  was  barrel- vaulted  —  the  existing  rib  vaults  were  erected  c.  1150  —  and  fol- 
lowed by  a  semicircular  apse.  The  timber-roofed  nave,  four  bays  long,  dates  from 
the  first  third  of  the  XIII  century,  and  is  characterized  by  massive  piers  on  each  of 
which  is  engaged  a  single  pilaster  facing  the  side  aisle,  by  clearstory  windows  placed 
on  the  axis  of  the  piers,  and  by  arcades  some  of  whose  arches  are  pointed,  some 
round-headed.  The  north  side  aisle  was  reconstructed  in  the  XIV  century;  its  vaults 
were  added  in  the  flamboyant  period.  From  the  pilasters  engaged  on  the  walls  and 
on  the  piers  it  is  evident  that  it  was  the  intention  of  the  builders  to  erect  isolated  trans- 
verse arches  spanning  the  side  aisles.  The  east  end  of  the  southern  side  aisle  has 
preserved  a  barrel  vault.  The  charming  tower  with  its  stone  spire  and  angle  turrets 
dates  from  the  second  quarter  of  the  XII  century.     (Lefevre-Pontalis  II,  15.) 

BEAUVAL,  Somme.  Eglise  consisted  originally  of  a  timber-roofed  nave,  two 
side  aisles  also  roofed  in  wood,  and  a  rectangular  rib-vaulted  choir  without  side  aisles; 
but  a  sort  of  transept  was  added  in  the  XVII  century.  It  is  possible  to  distinguish 
two  different  eras  of  construction  in  the  nave:  the  one,  of  the  commencement  of  the 
XIII  century,  is  contemporary  with  the  choir,  the  other  is  older,  but  not  earlier  than 
the  last  quarter  of  the  XII  century.  The  archivolts  in  two  orders  are  supported  on 
colonnettes  engaged  in  the  great  rectangular  piers;  the  clearstory  windows,  now  walled 
up,  were  round-headed.     The  southwest  tower  is  of  the  XVII  century.      (Durand.) 

MOGNEVILLE,  Oise.  Eglise.  Of  this  ancient  edifice  there  survive  two 
bays  of  the  nave,  the  transepts  altered  in  the  XIII  century,  the  choir,  and  the  tower. 
The  buttresses  of  the  latter  were  added  at  the  end  of  the  XII  century,  doubtless  to 
counteract  some  movement  which  had  appeared  in  the  masonry.  This  tower  with 
its  spire,  dormers,  and  angle  turrets  is  a  masterpiece  of  design,  and  may  be  assigned 
to  c.  1175;  it  is  decorated  with  shafted  angles,  double  arched-corbel  tables,  and  pointed 
arches  enclosing  horseshoe  windows.  (Woillez;  Arch,  de  la  Com.  des  Mon.  Hist. 
I.  30.) 

GLENNES,  Aisne.     St.  Georges  consists  of  a  narthex,  a  timber-roofed  nave,  two 
side  aisles,  transepts,  a  rib-vaulted  choir,  and  a  semicircular  apse.     The  narthex  which 

'  The  upper  portions  of  the  tower  were  finished  only  in  the  XIII  century. 

223 


TRANSmOXAL  MONTMEN~rS 

farms  a  separsie  edifice  liipher  than  the  vtaye  is  assifined  br  M.  Lefevre-Pontilis  to 
c  1200,  ■with  thf  exceptian  of  the  Bentral  TKuh  ■wiiicfa  was  rebuilt  in  the  X\T  centurr. 
Tht  nave  Trhich  is  assigned  to  c  116(1  is  fire  baj?  laii|::  it  is  c3iai«cteiiaed  br  archi- 
Tohs  in  two  firders.  rectau^ular  pieis  with  ensaced  shafts,  pointed  arcades,  and  round- 
beaded  windows.  Ljttk  interest  attaches  to  the  side  aisles  which  bare  been  abxtost 
eDtireh"  Te^ulh  in  the  XTI  eentnrv  and  in  modem  times.  The  crossinc  is  oouteuBo- 
xarr  "with  the  naTe,  but  the  transepts,  covered  with  rib  ranlts  furnished  with  semi- 
circular wall  ribs,  were  added  c  1170.  The  choir,  bowever.  is  part  of  the  ori^^nal 
eonstmcticni.  as  is  the  apse  with  its  radiating  rib  vauh  of  the  NoTon  trpe  with- 
out wall  ribs.  EstemaTlj.  the  church  is  notable  for  the  central  tower  of  c. 
1170  characterized  bj  pointed  arches  in  the  upper  stonr,  £ne  mouldtn«s,  and 
shafted  buttresses.  Altogether  this  interesting;  monument  is  cote  of  the  most  im- 
portant ratal  edifices  of  the  deptrieaaextL  of  Aisne.  (Lefevre-Pontalis.  Arth.  RtL 
n.  155.1 

AXGY.  Oise.  £gliae  f£  &e seoomd  b&B  of  the  Ml  oentmy,  oanasted  ori^inaDr 
of  a  single-aisled  none  xerfed  in  wood,  rib-TBultBd  trmnnrptn,  mad  a  five-sided  apse 
covered  with  a  xadai^g  z3>  vaah..  To  this  irss  added,  bat  ^iS  in  the  XTT  century, 
a  luirtbem  side  aisk.  The  tra&sqTts  are  not  srmmetrical  in  plan,  and  tbe  saa&era 
is  ab»  aeaaeisbai  'ia^ba  Abb  tibe  Borthem.  Extasallf  tibe  bsttresses  of  the  apse 
aae  'vaj  afiotf  mod  in  mairr  leassnts:  the  windoirs  are  TOBZid-arched:  the  csentrai 
tower  is  ccaamailed  with  arched  corbel-tables:  and  the  belfrv  windows  are  filled 
iridi  flate  traeerv.     rWoiDez:  Johnson. ) 

CSXSEOL.  Aisne.  St.  Pierre  consists  of  a  single-aisled  nave  (the  side  aisles 
wbich  farmerlr  existed  have  been  torn  down),  transepts,  a  central  tower,  and  a  square 
choir.  With  the  esceptian  of  the  nave  the  entire  edifice  was  rebuilt  in  the  Vl  1 1  cen- 
turr. and  it  is  probabk:  that  the  c^urdi  of  the  XII  centurr  had  no  trans^l  The 
nave.  Iliree  baj^  lun^;  and  eon^ered  widt  a  woodes  o^ing,  is  diaxaclerized  by  rectan- 
sular  pies,  mnnoiilded  aniuvcite  cf  a  ""f^  finds,  aad  smal  mdCBaneided  deax^orv 
windows,  its  most  jBleresti^  fwriiwne,  htwpcycr,  is  &e  pooled  arA  wiik^  occurs 
in  l2ie  west  partal  — an  imiwwallr  earlr  f-rample  of  such  a  oaastnictiaga,  for  this  part 
<£  the  edifice  must  date,  acoanbg  to  IL  Leferre-PoBtafe,  from  c  112o.  The 
remainder  of  the  edifice  is  ctf  litdb  sAereA.  except  for  tl>e  tower  »«»g»»*fl  to  a  1210. 
(l*feTTe-PantaIi&,  AiyA.  Bd.  m.  Si.) 

CTEY.  Aisne.  £glitie  ffwwarfs  cf  a  nave,  two  side  aisles,  a  cboir,  a  three-sided 
aqase,  and  a  large  square  chapd  reuaillr  erected-  The  nave,  assigned  to  c.  1110  bv 
M.  LeEevre-Panlalifi,  fe  cohered  with  a  modem  plaster  vault,  rq>lacing  the  anoent 
timber  roof:  the  seimaceidar  azcbes  of  the  main  arcade  are  supported  br  rectangular 
pieK.  The  side  aides.  xeoanBtmeted  in  modem  times,  were  covered  with  a  wooden 
roof  in  the  XII  century.  A  round  tiiuni^thal  arch  separates  the  nave  from  the  cboir. 
This  choir  is  asBJEned  to  c.  1130,  and  is  covered  with  a  groin  vault  furnished  with  two 
wall  ribs.  The  three-sided  apse,  the  oldest  example  of  a  pohgonal  east  end  in  the 
SoisBonnaiB,  h  surmounted  by  a  balf-dome  divided  by  two  groins,  a  construction  whicb 
farms,  in  fact,  a  segmental  cloistered  vault.  Although  the  portal  has  clearly  been 
sdmSt,  the  facade,  on  the  whole,  seems  contemporaiy  with  the  nave.     The  tower 

224 


^fciy^flK-    ^  teNK€S'  BBSS  iwcar  ttfi;  Pfogww  fflfe  : 

1— iigiiiingag;TfKBHf^'5)^'^B^itniWfc5f>  wnpfr 


©HE  fegniP*^ 


TRANSITIONAL   MONUMENTS 

may  be  referred  to  the  same  epoch  (1140).  The  choir,  also  of  about  the  same  date,  is 
covered  with  a  vault  whose  two  fediating  ribs  are  supported  on  long  colonnettes.  It 
is  probable  that  a  doclier  rose  over  the  transept  in  the  XII  century,  but  in  the  Gothic 
period  the  existing  lateral  tower  was  erected.     (Lefevre-Pon talis.  Arch.  Rel.  II,  59.) 

BETHISY-ST.-PIERRE,  Oise.  Eglise  (111.  161)  in  the  XII  century  consisted 
of  a  nave  roofed  in  wood,  two  rib-vaulted  side  aisles,  a  choir  of  which  the  first  bay 
was  rib-vaulted  the  other  two  barrel-vaulted,  and  an  apse  covered  with  a  half -dome. 
In  the  XIII  century  two  chapels,  one  of  which  ended  in  a  polygonal  apse,  were  built 
flanking  the  nave,  and  the  facade  was  reconstructed ;  in  the  XVI  century  a  southwest- 
ern tower  was  erected,  and  part  of  the  southern  side  aisle  rebuilt;  recently  the  outside 
walls  have  been  restored.  Apparently  the  barrel  vault  of  the  choir  has  transverse 
ribs  carried  on  columns  in  a  manner  that  recalls  the  school  of  Berry,  but  a  disastrous 
restoration  carried  out  in  1895  has  made  this  part  of  the  church  difficult  to  stud}-. 
The  choir  is  contemparary  with  the  nave,  and  may  be  assigned  to  c.  1125,  according  to 
M.  Lefevre-Pontalis.  Most  peculiar  are  the  vaults  of  the  side  aisles,  highly  domed 
by  the  use  of  segmental  transverse  arches.  The  tower  was  built  in  1520  as  is  known 
from  an  inscription.     (Lefevre-Pontalis,  Arch.  Rel.  Ill,  19.) 

BAZOCHES,  Aisne.  St.  Pierre  consists  of  a  nave,  two  side  aisles,  transepts, 
and  a  square  choir.  The  nave  is  three  bays  long;  its  original  wooden  ceiling  has  been 
replaced  by  a  modern  rib  vault.  On  the  north  side  the  pointed  arches  in  two  orders 
resting  on  rectangular  piers  seem  to  be  a  clever  modern  imitation  of  XII  century  work: 
the  arcades  of  the  south  side,  however,  are  of  the  XIII  century,  and  the  system  indi- 
cates an  imfulfilled  intention  on  the  part  of  the  builders  to  erect  a  vault.  The  aisles 
have  been  much  modernized.  According  to  M.  Lefevre-Pontalis,  the  transepts, 
which  are  rib-vaulted  throughout,  date  from  the  third  quarter  of  the  XII  century. 
These  vaults  are  not  excessively  domed,  and  are  supplied  with  a  full  set  of  ribs 
supported  by  a  logical  system.  Pointed  arches  are  used  throughout  except  in  the 
windows.  The  square  choir,  also  rib-vaulted,  appears  to  be  contemporary. 
(Lefevre-Pontalis,   Arch.   Rel.   II,    123.) 

BRUYERES,  Aisne.  St.  Martin  contains  two  early  rib  vaults,  one  surmount- 
ing the  choir,  the  other  placed  underneath  the  tower.  Both  are  without  wall  ribs. 
The  main  apse  and  the  two  absidioles  which  flank  it  are  covered  with  ribbed  half- 
domes.  The  style  of  the  buttresses  and  of  the  capitals  of  the  choir  and  the  richness 
of  the  apse  cornice  are  considered  by  M.  Lefevre-Pontalis  to  prove  that  this  part  of 
the  church  cannot  be  earlier  than  c.  1130.  A  single  side  aisle  is  separated  from  the 
nave  (which  is  three  bays  long  and  roofed  in  timber)  by  pointed  arcades  resting  on 
rectangular  supports.  This  side  aisle  was  probably  added  about  the  middle  of  the 
XII  century.  The  exterior  is  notable  for  a  fine  western  portal  elaborately  moulded, 
and  a  central  tower  of  the  first  third  of  the  XJI  century.  (Lefevre-Pontalis,  Arch. 
Rel.  I,  82;  and  II,  31.) 

DHUIZEL,  Aisne.  St.  Remi  consists  of  a  nave,  two  side  aisles,  transepts  of 
the  XIII  century,  and  a  semicircular  apse.  The  nave,  which  is  assigned  to  c.  1125 
by  M.  Lefevre-Pontalis,  is  covered  with  modern  vaults  replacing  the  original  roof 
in  wood,  and  is  characterized  by  round,  unmoulded  arcades  resting  upon  heavy  piers. 


OTHER   MONUMENTS 

The  crossing  is  contemporary  with  the  nave,  and  is  covered  with  rib  vaults  supphed 
with  highly  stilted  wall  ribs  and  pointed  arches.  A  half-dome  reinforced  by  very 
broad,  flat,  external  buttresses  surmounts  the  apse,  which  together  with  the  central 
tower  is  assigned  to  the  first  quarter  of  the  XII  century.  The  middle  portion  of  the 
fafade  is  contemporary  with  the  nave.     (Lefevre-Pontalis,  Arch.  Rel.  Ill,  47.) 

COUDUN,  Oise.  St.  Hilaire,  assigned  b}'  M.  Lefevre-PontaUs  to  the  second 
quarter  of  the  XII  century,  consists  of  a  nave,  two  side  aisles,  transepts,  and  three 
apses.  The  nave  is  roofed  in  wood,  and  its  piers  are  rectangular;  the  main  arcades 
in  two  unmoulded  orders  are  pointed.  The  apse,  which  is  polygonal  internally,  and 
the  transepts  are  rib-vaulted.'  A  portal  in  three  orders  richly  ornamented  with  chev- 
rons characterizes  the  fa9ade  of  c.  1150.     (Woillez;  Arch,  de  la  Com.  des  Mon.  Hist.) 

BRASLE,  Aisne.  St.  Quentin.  Originally  this  church  consisted  of  a  single- 
aisled  nave  and  a  square  choir  surmounted  by  a  tower,  but  the  side  aisles  added 
c.  1160  and  the  large  chapel  of  the  end  of  the  XIII  century  give  the  present  plan 
an  irregular  form.  In  the  X^T  century  the  old  ceiling  was  replaced  by  a  rib  vault. 
The  choir,  covered  by  a  pointed  barrel  vault,  is  assigned  to  the  first  third  of  the  XII 
century  by  M.  Lefevre-Pontalis,  and  the  fa9ade  rebuilt  in  modern  times  stiU  pre- 
serves a  portal  of  the  same  time.  The  central  tower  is  assigned  to  c.  1125.  (Lefevre- 
Pontalis,  Arch.  Rel.  Ill,  28.) 

BONNEUIL-EN-VALOIS,  Oise.  Eglise.  According  to  M.  Lefevre-Pontalis 
this  edifice  of  c.  1110  was  altered  about  the  middle  of  the  XII  century,  and  again  in 
the  XIII  and  XVI  centuries.  It  consists  of  a  nave,  two  side  aisles,  a  lateral  tower, 
transepts,  and  a  square  choir  which  originally  was  in  all  probability  supplied  with 
a  semicircular  apse.  The  nave  roofed  in  wood  is  five  bays  long.  On  the  north  side 
three  bays  of  the  structure  of  the  first  quarter  of  the  XII  century  still  survive;  they 
are  characterized  by  semicircular  arcades  in  two  orders  and  rectangular  piers  with 
two  colonnettes,  one  engaged  at  either  end.  The  rest  of  the  nave  was  reconstructed 
in  the  XVT  century,  when  vaults  were  projected,  but  never  carried  out.  There  were 
probably  no  transepts  in  the  original  edifice;  the  existing  north  chapel  and  its  apse 
may  be  assigned  to  c.  1150,  the  south  transept  is  of  the  XIII  century.  The  central 
part  of  the  fa9ade  is  of  the  first  quarter  of  the  XII  century.  The  tower  which  rises 
at  the  end  of  the  north  aisle  is  assigned  to  c.  1125,  and  is  ornamented  with  grouped 
windows,  flat  corbel-tables,  and  chevrons.     (Lefevre-Pontalis,  Arch.  Rel.  Ill,  25.) 

BRECY,  Aisne.  St.  Michel  consisted  originally  of  a  single-aisled  nave  and  a 
rectangular  choir,  but  the  addition  of  a  side  aisle  and  a  lateral  chapel  have  disfigured 
the  primitive  plan.  The  nave  is  assigned  to  c.  1160;  the  choir,  of  which  the  first  bay 
is  surmounted  by  a  rib  vault,  the  second  by  a  pointed  barrel  vault,  dates  from  c.  1150. 
The  entire  edifice  was  made  over  in  the  XIII  century.  (Lefevre-Pontahs,  Arch. 
Rel.  n,  130.) 

DAMERY,  Marne.  St.  Medard  consists  of  a  nave,  two  side  aisles,  transepts, 
and  a  polygonal  apse  erected  in  the  XIII  century  in  place  of  the  original  square  east 
end.     The  nave,  assigned  to  c.  1160  by  M.  Lefevre-Pontalis,  is  six  bays  long  and 

'  The  drawings  of  the  Arch,  de  la  Com.  des  Mon.  EUst.  show  the  apse  surmounted  by  a 
half<lome  instead  of  by  a  rib  vault. 

227 


TRANSITIONAL   MONUMENTS 

covered  with  a  wooden  ceiling:  the  main  arcades  in  two  orders  are  pointed  and  rest 
upon  cruciform  piers.  The  side  -aisles  have  been  rebuilt  in  modern  times.  A  rib 
vault  square  in  plan  surmounts  the  crossing  which  must  date  from  the  middle  of  the 
XII  centur}',  but  the  transepts  are  covered  with  pointed  barrel  vaults.  The  fafade 
was  rebuilt  at  the  same  time  as  the  nave.  Pointed  windows  grouped  under  a  round 
arch,  angle  shafts,  and  a  double  arched  corbel-table  characterize  the  central  tower 
of  c.  1160.  The  figured  capitals  and  the  details  of  the  carving  throughout  are  of 
exceptional  interest.     (Lefe^Te-Pontalis,  Arch.  Rel.  II,  152.) 

BERZY-LE-SEC,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  a  square 
choir  surmounted  by  a  tower,  and  a  semicircular  apse.  The  nave,  covered  by  a 
wooden  ceihng,  is  divided  into  three  bays;  the  archivolts  are  in  tn-o  unmoulded  orders, 
of  which  the  inner  rest  on  colonnettes  engaged  in  the  rectangular  piers.  The  outer 
walls  of  the  side  aisles  are  modem.  A  highly  domed  rib  vault  nearly  square  in  plan 
covers  the  choir;  it  is  supplied  with  a  full  set  of  ribs  of  which  the  transverse  and  lon- 
gitudinal ones  are  pointed.  The  apse  is  vaulted  with  a  ribbed  half-dome.  Externally 
the  edifice  is  remarkable  for  the  salient  buttresses  broken  by  numerous  ressauts.  As 
for  the  ornament,  the  abaci  are  continued  as  string-courses,  many  of  the  capitals  are 
adorned  with  figure  sculptures,  the  doorways  are  shafted,  the  windows  finely  moulded, 
and  the  facade  is  supplied  with  a  well-developed  drip-stone  string-course.  Pointed 
arches  occur  in  the  vaults,  but  the  arches  of  the  main  arcade  are  nearly  round.  This 
church  is  a  homogeneous  structure  of  c.  1140,  according  to  M.  Lefevre-Pontalis. 

CHACRISE,  Aisne.  Notre  Dame  consisted  originally  of  a  nave,  two  side  aisles, 
and  a  rectangular  choir,  but  transepts  have  been  added.  The  nave,  with  wooden 
ceiling,  is  four  bays  long;  its  round  arcades  rest  on  heavy  piers,  unfortunately  modern- 
ized. This  nave,  according  to  M.  Lefevre-Pontalis,  is  not  earher  than  c.  1150;  the 
transepts  are  assigned  to  c.  1200;  but  the  crossing  has  preserved  a  rib  vault  of  the 
Xn  century,  and  the  choir  covered  by  a  single  square  rib  vault  is  ascribed  to  c.  1160. 
Little  interest  attaches  to  the  fa9ade.  The  central  tower,  contemporary  with  the 
nave,  is  characterized  by  shafted  angles,  and  twin  windows  ornamented  with  dog-tooths, 
chevrons,  etc.     (Lefevre-Pontalis,  Arch.  Rel.  II,  133.) 

BRAY,  Somme.  St.  Nicolas  consists  of  a  nave,  two  side  aisles,  three  apses, 
and  a  central  western  tower.  The  apses,  the  oldest  portion  of  the  edifice,  date  from 
the  XII  century,  though  the  existing  vaults  were  erected  in  XVI  century.  Externally 
this  portion  of  the  edifice  is  characterized  by  shafted  windows.  The  flamboyant 
choir  may  well  have  been  erected  after  the  sack  of  the  city  by  Charles  the  Bold  in  1472; 
it  is  adorned  with  disappearing  mouldings,  and  capitals  are  omitted.  The  wooden- 
roofed  nave  must  date  from  the  reign  of  Francis  I,  as  it  is  decorated  with  sculptured 
salamanders.     The  present  tower  is  of  the  XVIII  century.     (.Josse.) 

AirVTLLER,  Oise.  Eglise,  wliich  may  be  assigned  to  the  first  quarter  of  the 
xn  century,  is  a  single-aisled  country  church  with  a  square  east  end  and  a  central 
tower.  The  choir  of  the  XIII  century  is  rib- vaulted,  as  is  the  bay  beneath  the  tower. 
The  ribs  of  the  vault  of  the  latter  rest  on  corbels.  Externally  the  edifice  is  character- 
ized by  the  tower,  whose  grouped  windows  have  square  profiles,  and  by  the  ornamenta- 
tion in  dog-tooth  mouldings.     (AVoillez.) 

228 


OTHER   MONUMENTS 

CHARS  (near  Pontoise),  Seine-et-Oise.  Eglise.  The  vaults  of  the  transept 
and  choir  have  been  remade  in  the  XVI  century,  but  the  rib  vaults  of  the  ambulatory 
dating  from  the  middle  of  the  XII  century  are  still  intact.  (Lefevre-Pontahs,  Arch. 
Rel.  I,  92.) 

COURMELLES,  Aisne.  St.  Georges  consists  of  a  nave,  two  side  aisles,  tran- 
septs, a  central  tower,  a  choir,  and  a  semicircular  apse.  The  nave,  three  bays  long, 
is  roofed  in  wood,  and  is  assigned  to  the  third  quarter  of  the  XII  century  by  M.  Le- 
fevre-Pon talis.  In  the  northern  arcade  arches  in  two  orders  rest  upon  cruciform 
piers;  but  in  the  southern  the  arches  are  of  only  a  single  order.  The  rib  vault  over 
the  crossing  is  assigned  to  c.  1160,  but  was  altered  in  the  XIII  century.  The  tran- 
septs were  revaulted  in  the  XVI  century.  Rib  vaults  surmount  the  choir  which  seems 
to  be  contemporary  with  the  nave.  The  apse  is  covered  with  a  ribbed  half-dome, 
which  is  buttressed  externally  by  groups  of  engaged  columns.  Throughout  the  edi- 
fice the  windows  are  round-headed,  but  those  of  the  apse  are  surmounted  by  blind 
pointed  arches.  The  facade  was  rebuilt  in  the  XIII  century;  the  central  tower 
however,  is   contemporary  with  the  choir.       (Lefevre-Pontalis,  Arch.  Rel.  II,  143.) 

CHELLES,  Oise.  Eglise  (111.  206)  which  is  thought  by  M.  Lefevre-Pontalis 
to  be  not  earlier  than  c.  1140,  consists  of  a  wooden -roofed  nave,  two  side  aisles,  tran- 
septs formerly  supplied  with  absidioles  of  which  only  the  southern  survives,  a  cen- 
tral tower,  a  choir,  and  a  semicircular  apse.  Of  the  nave  erected  c.  1140,  the  five 
northern  arcades  survive;  they  are  characterized  by  pointed  archivolts  resting  upon 
rectangular  piers  with  colonnettes  engaged  at  either  end.  The  side  aisles  were  much 
altered  in  the  XVI  century,  but  the  south  aisle  still  preserves  its  ancient  pointed 
barrel  vaults.  The  choir  may  be  assigned  to  the  second  quarter  of  the  XII  century. 
A  ribbed  half-dome  surmounts  the  apse.  This  apse  is  externally  very  richly  orna- 
mented: the  shafts  of  the  windows  are  zig-zagged  so  as  to  form  chevrons,  and  columns 
with  capitals  supporting  gables  are  engaged  upon  the  buttresses.  The  tower  has 
pointed  windows  —  probably  the  earliest  known  example  of  this  feature.  (Lefevre- 
Pontahs,  Arch.  Rel.  Ill,  37.) 

LATILLY,  Aisne.  St.  Laurent  consists  of  a  nave,  two  side  aisles,  transepts,  a 
central  tower,  and  a  square  choir.  There  was  originally  a  semicircular  apse,  but 
this  has  disappeared.  The  nave,  which  is  four  bays  long  and  covered  with  a  wooden 
ceiling,  is  assigned  by  M.  Lefevre-Pontalis  to  c.  1135.  The  pointed  arches  of  the  main 
arcade  are  in  two  orders  and  supported  by  rectangular  piers  with  colonnettes  engaged 
at  either  end.  Over  the  crossing  is  a  rib  vault,  whose  ribs  rest  on  four  engaged  col- 
onnettes. This  part  of  the  church  was  erected  in  the  second  quarter  of  the  XII  cen- 
tury; the  existing  rib-vaulted  transepts  and  the  choir  are  of  the  XIII  century.  The 
angles  of  the  tower  (which  is  contemporary  with  the  nave)  are  shafted,  but  there  are 
no  buttresses.     (Lefevre-Pontalis,  Arch.  Rel.  II,  61.) 

BERTEAUCOLTIT-LES-DAMES,  Somme.  Eglise,  consisted  originally  of  a 
nave  seven  bays  long,  two  side  aisles,  transepts  with  absidioles,  a  choir  two  bays  long, 
and  an  apse;  but  the  north  aisle  has  been  torn  down  and  rebuilt,  the  transepts  and 
choir  have  disappeared,  and  a  modern  apse  now  replaces  the  ancient  choir.  The 
nave,  which  dates  from  the  first  half  of  the  XII  century,  like  the  side  aisles  had  orig- 

229 


TRANSITIONAL   MONUMENTS 

inally  no  vaults  nor  even  any  system,  although  the  piers  are  alternately  round  and 
clustered.  The  archi volts  are  unmbulded  and  in  three  orders;  the  arches  of  the  main 
arcade  are  pointed,  but  all  the  other  arches  are  round-headed.  Externally  the  church 
is  very  richly  ornamented  —  especially  the  fa9ade,  assigned  to  c.  1150,  is  notable 
for  its  sculpture,  its  ornate  portal,  its  southern  tower,  and  its  pointed  arched  corbel- 
tables.     (Enlart,  Arch.  Rom.,  72.) 

ACY-EN-MULTIEN,  Oise.  Eglise.  Beneath  the  lateral  tower  there  survives 
a  rib  vault,  which  is  assigned  by  M.  Lefe^Te-Pontahs  to  c.  1110.  The  nave,  assigned 
by  the  same  authority  to  c.  1130,  was  originally  roofed  in  wood,  and  the  side  aisles 
were  spanned  by  isolated  transverse  arches  intended  to  support  the  roof.  System 
and  vaults  were  added  c.  1140.     (Lefe^Te-Pontalis,  Arch.  Rel.  I,  86.) 

PEENANT,  Aisne.  St.  Leger  consisted  of  a  nave,  two  side  aisles,  transepts 
which  evidently  are  not  part  of  the  original  construction,  a  central  tower,  and  an 
apse.  The  nave  is  assigned  to  c.  1170  by  M.  Lefe^Tc-Pontalis,  the  rest  of  the  church 
to  c.  1130.  The  great  arches  of  the  nave  (which  is  five  baj's  long  and  roofed  in  tim- 
ber) are  pointed  and  in  two  orders;  they  rest  on  rectangular  piers  each  of  which  is 
supplied  with  two  colonnettes,  one  engaged  at  either  end.  A  highh'  domed  rib  vault 
without  wall  ribs  surmounts  the  crossing;  the  transepts  of  the  XIII  century  are  also 
rib-vaulted,  and  a  ribbed  half-dome  crowns  the  apse.  The  fa9ade,  which  was  recon- 
structed c.  1170,  is  well  preserved,  and  notable  for  the  pointed  portal.  The  central 
tower  dates  from  c.  1130.     (Lefevre-Pontalis,  Arch.  Rel.  II,  78.) 

RESSONS-LE-LONG,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles, 
transepts,  and  a  square  choir.  The  nave,  which  may  be  assigned  to  c.  1100,  is  roofed 
in  timber,  and  is  four  bays  long;  the  main  arcades  are  round  and  in  two  orders.  Each 
pier  consists  of  a  rectangular  core  on  which  are  engaged  three  colonnettes  —  one  at 
either  end,  and  one  on  the  side  of  the  pier  facing  the  nave.  The  latter  is  continued 
along  the  clearstory  to  form  a  system.  In  the  biUet  string-courses  and  buttresses 
of  the  facade  may  be  seen  traces  of  a  western  narthex  and  a  tower  which  no  longer 
exist.  In  the  XII  centur}'  the  present  rib  vault  was  erected  over  the  crossing.  The 
transepts  are  not  vaulted.  The  barrel-vaulted  choir  is,  perhaps,  the  oldest  example 
of  a  square  east  end  extant  in  the  lie  de  France.  (Lefevre-Pontalis,  Arch.  Rel.  I, 
216.) 

VAILLY,  Aisne.  Notre  Dame  (111.  193),  which  was  rebuilt,  according  to  M. 
Lefe\Te-Pontalis,  between  1170  and  1180,  consisted  originally  of  a  nave,  two  side  aisles, 
transepts,  and  a  rectangular  choir  ending  in  a  semicircular  niche;  but  c.  1230  two 
chapels  flanking  the  choir  were  added,  and  in  the  XIV  century  other  chapels  were 
erected  opposite  the  last  bays  of  the  side  aisles.  The  nave,  five  bays  long,  has  always 
had  a  timber  roof;  the  great  arches  of  the  main  arcade  are  pointed,  and  rest  upon 
slender  piers  with  four  engaged  columns.  In  the  XII  century  the  aisles  had  trans- 
verse arches,  but  these  were  replaced  in  the  Renaissance  period  by  the  existing  vaults. 
A  slightly  domed  rib  vault  covers  the  crossing,  and  the  eastern  niche  is  vaulted  with 
a  ribbed  half-dome.  The  fa9ade,  whose  rich  decoration  is  very  pleasing,  is  one  of 
the  most  remarkable  architectural  productions  of  the  diocese;  the  tympanum  of  the 
portal  contains   sculptures,  for  the  most  part,  unfortunately,  modern.     The  tower 

230 


OTHER   MONUMENTS 

was  commenced  c.  H75  and  finished  c.  1200.  (Lefevre-Pontalis,  Arch.  Rel.  II, 
207.) 

LHUYS,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts,  and  a 
rectangular  choir,  but  was  rebuilt  no  less  than  three  times  during  the  XII  and  XIII 
centuries.  The  nave  is  covered  with  a  wooden  ceiling;  in  the  northern  arcade,  the 
pointed  arch  of  the  first  bay  is  modern,  but  the  three  following  bays  are  assigned  by 
M.  Lefevre-PontaUs  to  the  early  years  of  the  XII  century,  and  are  characterized  by 
semicircular  unmoulded  archivolts  in  two  orders  resting  upon  heavy  piers.  In  the 
southern  arcade,  entirely  rebuilt  c.  1140,  the  round  arches  of  the  first  three  bays  are 
supported  by  piers  surrounded  by  ten  engaged  colonnettes,  and  the  fourth  bay  is  sim- 
ilar, except  that  the  arch  is  pointed.  The  north  side  aisle  is  modern,  but  the  eastern 
bay  of  the  south  aisle  retains  its  rib  vault  —  it  was  this  rib  vault  which  necessitated 
the  introduction  of  the  pointed  arch  in  the  corresponding  bay  of  the  main  arcade. 
The  transepts,  which  are  assigned  to  c.  1180,  are  vaulted,  as  is  the  crossing.  It  is 
probable  that  the  wall  ribs  of  the  choir  vaults  were  added  when  this  portion  of  the 
edifice  was  reconstructed  in  the  XIII  century,  for  they  do  not  seem  to  form  part  of 
the  original  work  of  c.  1170.  The  tower  dates  from  c.  1130.  (Lefevre-Pontalis, 
Arch.  Rel.  II,  165.) 

NOUVRON-VINGRE,  Aisne.  Notre  Dame  consists  of  a  nave,  two  side  aisles, 
a  lateral  tower,  transepts,  and  a  semicircular  apse.  In  the  northern  arcade  of  the 
wooden-roofed  nave  are  preserved  three  round  arches  assigned  by  M.  Lefevre-Pontalis 
to  the  first  years  of  the  XII  century.  Colonnettes  are  engaged  at  either  end  of  the 
piers.  As  for  the  southern  arcade,  the  arches  are  all  pointed,  and  must  date  from 
the  end  of  the  XII  century.  The  side  aisles  have  been  rebuilt  in  modern  times.  A 
rib  vault,  whose  ribs  are  supported  on  colonnettes,  crowns  the  crossing;  this  part  of 
the  edifice  together  with  the  apse  and  the  tower  which  rises  over  the  north  tran- 
sept dates  from  c.  1140.  The  fa9ade  is  modern.  (Lefevre-Pontalis,  Arch.  Rel. 
II,  73.) 

SOISSONS,  Aisne.  St.  Pierre.  The  reconstruction  of  this  monument  was 
commenced  c.  1170  and  finished  c.  1180,  according  to  M.  Lefevre-Pontalis.  In  1180 
the  apse,  the  transepts,  and  the  last  bays  of  the  nave  were  destroyed,  but  the  fa9ade 
and  the  first  two  bays  of  the  nave  still  survive,  transformed  into  a  gymnasium.  The 
nave,  flanked  by  two  side  aisles,  was  roofed  in  wood;  the  pointed  arches  of  the  main 
arcade  were  unmoulded,  and  rested  on  monolithic  columns;  the  windows  were  all 
round-headed.  The  fa9ade  is  characterized  by  a  pointed  portal.  (Lefevre-Pontalis, 
Arch.  Rel.  II,  201.) 

ORGEVAL,  Seine-et-Oise.  Eglise.  The  choir  may  be  assigned  to  the  late 
XI  century,  the  tower  to  the  middle  of  the  XII  century,  the  nave  and  transepts,  though 
much  rebuilt  in  the  flamboyant  era,  to  the  XIII  century,  the  side  aisle  to  the  last  half 
of  the  XVI  century.  The  nave  is  flanked  by  a  single  side  aisle,  the  gables  of  whose 
roof  are  at  right  angles  to  the  main  axis.  The  church  is  vaulted  throughout;  the 
vault  of  the  choir  is  a  highly  domed  groin  vault  with  transverse  arches  in  two  orders; 
the  semicircular  apse  is  surmounted  by  a  half-dome.  Externally  the  edifice  is  char- 
acterized by  large  but  absolutely  plain  windows  and  by  an  octagonal  tower  adorned 

231 


TRANSITIONAL   MONUMENTS 

with  finely  moulded  windows  in  several  orders,  shafted  angles,  and  small  dormers 
placed  near  the  top  of  the  spire.  ^  (Arch,  de  la  Com.  des  Mon.  Hist.;  Baudot.) 

CROUY,  Aisne.  St.  Maurice  consists  of  a  nave,  two  side  aisles,  transepts,  and 
a  square  choir.  The  nave,  built  c.  1170,  according  to  M.  Lefevre-Pontalis,  is  four 
bays  long,  and  not  vaulted;  its  arcades,  pointed  and  in  two  orders,  rest  upon  cruci- 
form piers.  The  vaults  of  the  side  aisles  and  the  eastern  portions  of  the  church  are 
modem.  Most  interesting  is  the  fa9ade  of  c.  1170,  fortified  by  a  high  gallery  supported 
on  a  round  arch.     (Lefevre-Pontalis,  Arch.  Rel.  II,  147.) 

BEUGNEUX,  Aisne.  Eglise  consisted  originally  of  a  single-aisled  nave,  a  choir 
surmounted  by  a  tower,  and  a  semicircular  apse,  but  c.  1160  the  northern  side  aisle 
was  erected.  The  nave,  with  a  wooden  ceiling  and  round  windows,  must  date  from 
the  second  quarter  of  the  XII  century.  When  the  choir  vault  was  rebuilt  in  the  XIII 
century,  the  ancient  apse  was  replaced  by  the  present  rectangular  choir.  The  central 
tower  dates  from  c.  1135.     (Lefe\Te-Pontalis,  Arch.  Rel.  Ill,  22.) 

MAREUIL-EN-DOLE,  Aisne.  St.  Germain  consists  of  a  nave,  two  side  aisles, 
transepts,  and  a  square  choir.  The  nave,  three  bays  long  and  with  wooden  ceiling, 
is  assigned  by  M.  Lefe\Te-Pontalis  to  c.  1125.  Its  rectangular  piers,  made  octagonal 
in  modem  times,  support  round  arcades;  the  ancient  round-headed  windows  were 
replaced  by  pointed  ones  in  the  XIII  century.  The  walls  of  the  side  aisles  are  mod- 
em. About  1220  it  was  determined  to  reconstruct  the  choir,  and  the  rib  vaults  which 
at  present  surmount  the  crossing  and  south  transept  were  then  executed.  The  north 
transept,  on  the  other  hand,  is  a  work  of  the  XVI  century.  The  fafade  is  notable 
for  the  round-arched  portal  of  the  first  third  of  the  XII  century,  and  for  the  great 
timber-roofed  porch  of  c.  1150.     (Lefevre-Pontalis,  Arch.  Rel.  11,  168.) 

MAREUIL-LE-PORT,  Mame.  Uglise.  Of  the  ancient  edifice  assigned  to 
c.  1110  by  M.  Lefe\Te-Pontalis,  only  the  central  tower  survives,  the  remainder  of  the 
building  having  been  entirely  rebuilt  in  the  XIII  and  in  the  first  third  of  the  X^T 
centuries.  The  timber-roofed  nave  is  a  simple  structure  of  the  XIII  century;  its 
pointed  arcades  rest  on  heavy  piers.  The  transepts  divided  into  two  lateral  aisles 
are  covered  bj'  six  rib  vaults  of  the  X\T  century.  Renaissance  details,  and  fine  glass 
presented  by  Nicolas  Prudhomme,  Abbot  of  St.  Jean-des-Vignes  from  1516  to  1541, 
characterize  the  vaulted  polygonal  apse.     (Lefe^Te-Pontalis,  Arch.  Rel.  II,  63.) 

ANSACQ,  Oise.  St.  Lucien,  a  country  church  of  a  single  aisle  roofed  in  timber, 
is  of  interest  chiefly  for  the  portal  which  may  be  assigned  to  c.  1140.  This  portal 
is  characterized  by  a  pointed  archivolt,  voussoirs  finelj-  moulded  and  ornamented 
with  chevrons,  zig-zag  shafts,  and  capitals  of  a  pronounced  Romanesque  type. 
The  fa9ade  is  preceded  by  a  narthex  of  the  XII  century.  The  side  walls  are  orna- 
mented externally  with  pilaster  strips,  and  are  pierced  by  round-headed  windows. 
(WoiUez.) 

IMAROLLES,  Oise.  Ste.  Genevieve  consists  of  a  nave,  two  side  aisles,  a  lateral 
tower,  transepts,  and  a  polygonal  apse,  but  before  the  XVI  century  there  were  no  tran- 
septs, and  the  apse  was  semicircular.  The  nave,  surmounted  by  a  wooden  ceiling,  is 
assigned  by  M.  Lefe^Te-Pontalis  to  c.  1125;  it  is  characterized  by  pointed  arcades, 
heavy  piers,  and  round-headed  windows  now  walled  up.     Beneath  the  tower,  which 

232 


OTHER   MONUMENTS 

rises  over  the  eastern  bay  of  the  northern  side  aisle,  survives  a  pointed  barrel  vault. 
This  portion  of  the  edifice  may  be  assigned  to  c.  1130.  The  liighly  domed  rib  vault 
of  the  crossing  is  of  the  same  epoch,  but  the  vaulted  transepts  alid  choir  are  of  the  XVI 
century.  The  tower  of  c.  1135  is  characterized  by  angle  columns,  grouped  round- 
arched  -windows  in  several  richly  moulded  orders,  a  spire  whose  broken  outline  is 
doubtless  due  to  a  change  in  the  original  plans,  and  four  angle  pyramids.  (Lefevre- 
Pontalis,  Arch.  Rel.  II,  67.) 

CUISE,  Oise.  St.  Martin  consists  of  a  nave,  two  side  aisles,  transepts,  and  a 
square  choir.  The  choir  and  transepts  are  of  the  XII  century,  but  the  nave  and 
fa9ade  were  finished  only  in  the  Gothic  period.  In  the  nave  plaster  vaults  of 
modem  construction  replace  the  original  wooden  ceiling,  and  cruciform  piers  support 
the  double  orders  of  the  archivolts  of  the  main  arcade.  The  rib  vault  of  the  cross- 
ing, which  is  assigned  to  c.  1160  by  M.  Lefe^Te-Pontalis,  rests  on  colonnettes.  The 
northern  transept  was  revaulted  in  the  XIII  century,  but  the  southern  still  retains 
its  original  vault.  Externally  the  choir  is  characterized  by  round-arched  windows 
placed  in  pointed  niches.  The  uninteresting  tower  is  of  the  end  of  the  XII  century. 
(Lefevre-Pontahs,  Arch.  Rel.  II,  149.) 

JOUY-LE-MOUSTIER,  Seine-et-Oise.  Eglise  consists  of  a  nave  of  the  end 
of  the  XII  century,  two  side  aisles  of  the  XV  century,  transepts  of  the  XIII  century, 
a  rectangular  choir  of  the  same  epoch,  and  a  north  lateral  porch  with  vaulted  narthex 
of  the  XVI  century.  The  nave  is  characterized  by  a  continuous  triforium,  a  clear- 
story composed  of  oculi,  round  piers  whose  capitals  have  octagonal  abaci,  a  system 
of  three  shafts,  and  quadripartite  rib  vaults  whose  wall  ribs  are  not  stilted.  The 
central  tower  with  its  rather  flat  spire  and  four  conical  turrets  dates  from  the  second 
quarter  of  the  XII  century.     (Baudot.) 

NAMPS-AU-VAL,  Somme.  Eglise  consists  of  a  single-aisled  nave  two  bays 
long,  a  rectangular  rib-vaulted  choir  also  of  two  bays,  and  a  lateral  tower  rising  at 
the  junction  of  the  choir  and  the  nave.  The  wooden-roofed  nave  is  decorated  in- 
ternally with  a  continuous  arcade  of  round  arches,  and  is  supplied  with  round-headed 
windows  and  a  pointed  portal.  The  choir  is  characterized  by  a  system  of  five  shafts, 
whose  abaci  are  normal  to  the  wall,  and  by  diagonal  ribs  decorated  with  chevrons. 
A  voluted  moulding  strangely  analogous  to  the  well-known  Syrian  motive  occurs  in 
the  southern  portal.  The  tower  is  assigned  by  M.  Enlart  to  the  XIII  century,  the 
nave  to  1160-80,  and  the  choir  to  c.  1150.     (Enlart,  Arch.  Rom..,  146.) 

SAPONAY,  Aisne.  Notre  Dame  consists  of  a  nave  three  bays  long,  two  side 
aisles,  a  rectangular  choir,  and  a  polygonal  apse.  The  nave,  assigned  by  M.  Lefevre- 
Pontalis  to  c.  1150,  was  rib-vaulted  in  the  XVII  century;  the  pointed  arches  of  the 
main  arcade  are  in  two  orders,  and  rest  on  rectangular  piers.  The  choir,  which  is 
assigned  to  the  last  quarter  of  the  XII  century,  is  surmounted  by  a  rib  vault  with 
pointed  wall  ribs.  jMost  peculiar  is  the  plan  of  the  apse;  the  first  two  of  the  seven 
sides,  instead  of  following  the  direction  of  the  choir  walls,  spread  out,  thus  giving  the 
apse  the  form  of  a  polygonal  horseshoe.  The  vault,  which  is  supplied  with  a  complete 
set  of  wall  arches,  is  supported  on  eight  radiating  ribs.  Strangely  enough  the  windows 
of  this  apse  are  round-headed,  although  the  details,  especially  the  figured  capitals, 

233 


TRANSITIONAL   MONUMENTS 

are  advanced  in  character.  The  western  portal  is  of  the  XIII  century,  and  the  tower 
which  rises  over  the  choir  is  of  the  same  epoch.  (Lefevre-Pontalis,  Arch.  Rel.  II, 
187.) 

A\TIECHY,  Oise.  St.  Lucien.  The  rectangular  choir,  which  is  the  only  por- 
tion of  this  church  earlier  than  the  XIII  centur}',  is  surmounted  by  a  rib  vault 
excessively  domed,  although  the  arches  are  pointed.  Externally  the  east  end  is 
pierced  by  three  round-arched  windov.'s  surmounted  by  an  oculus  over  which  a 
string-course  is  arched.     (Woillez.) 

VAUXREZIS,  Aisne.  St.  Maurice  (111.  171)  consists  at  present  of  a  nave  four 
bays  long,  two  side  aisles,  transepts,  and  a  semicircular  apse,  but  the  original  edifice 
probably  possessed  no  transepts.  The  timber-roofed  nave,  which  is  assigned  by  M. 
Lefevre-Pontalis  to  c.  1130,  is  characterized  by  the  main  arcades  of  round  arches  in 
two  unmoulded  orders  and  by  the  rectangular  piers,  on  each  of  which  are  engaged 
two  colonnettes.  The  side  aisles  were  rebuilt  in  the  XVI  century.  A  rib  vault  sur- 
mounts the  crossing.  The  choir  is  contemporary  with  the  nave;  the  half-dome  of 
the  apse  is  reinforced  by  two  ribs.  Tlie  fa9ade  is  also  of  c.  1130.  Over  the  crossing 
rises  the  central  tower,  one  of  the  most  beautiful  of  the  period  in  the  He  de  France. 
This  tower  must  date  from  c.  1135,  for  the  angles  are  shafted  and  the  openings  finely 
moulded.     (Lefevre-Pontalis,  Arch.  Rcl.  II,  97.) 

PONT-ST.-MARD,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts, 
a  central  tower,  and  an  apse.  The  timber-roofed  nave,  which  is  assigned  to  the  first 
quarter  of  the  XII  century  by  M.  Lefevre-Pontalis,  is  supplied  with  arcades  of  round 
arches  and  with  piers  which  have  been  cut  down  to  the  shape  of  columns  in  modern 
times.  Entirely  modem  are  the  side  aisles,  and  a  modern  vault  replaces  the  ancient 
barrel  vault  of  the  crossing.  The  transepts  are  of  the  X\T  century,  but  the  apse  with 
its  half-dome  dates  from  c.  1115.  The  facade  of  about  the  same  epoch  is  finely  orna- 
mented with  arched  string-courses,  billets,  double  triangles,  and  ribbon  mouldings. 
A  gable  surmounts  the  principal  portal.     (Lefevre-Pontalis,  Arch.  Rel.  II,  80.) 

EPAUX,  Aisne.  St.  Medard  consists  at  present  of  a  single-aisled  nave  with  a 
wooden  ceiling  and  a  polygonal  choir  also  roofed  in  timber,  but  the  latter  is  a  work 
of  the  XVI  century,  and  the  church  originally  terminated  in  a  square  east  end.  A 
modern  tower  flanks  the  edifice  to  the  north,  but  the  rib  vault  of  its  lower  story  dates 
from  c.  1150,  according  to  M.  Lefe\'Te-Pontalis.  The  western  portal  of  c.  1150  is 
in  four  shafted  orders  adorned  with  double  chevrons  and  tetes  plates  —  decorations 
unmistakably  Norman  in  character.     (Lefe\Te-Pontalis,  Arch.  Rel.  II,  154.) 

CREZANCY,  Aisne.  Eglise  consisted  orignally  of  a  nave,  two  side  aisles,  and 
a  rectangular  choir.  The  southern  arcade  of  the  wooden-roofed  nave  and  both  side 
aisles  are  modern,  but  the  northern  arcade  dates  from  the  second  quarter  of  the  XII 
century,  although  the  cylindrical  piers  which  support  the  round  arches  are  an  excep- 
tional construction  for  that  epoch.  M.  Lefevre-Pontalis  assigns  the  rib  vault  of  the 
crossing  to  c.  1130,  the  western  portal  to  c.  1135,  and  the  two  lower  stories  of  the  cen- 
tral tower  to  about  the  same  time.     (Lefevre-Pontalis,  Arch.  Rel.  Ill,  44.) 

GASSICOURT,  Seine-et-Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  tran- 
septs, a  central  tower,  and  a  square  choir.     The  nave  and  tower  are  of  the  XII  cen- 

234 


OTHER   MONUMENTS 

tury,  but  the  choir  and  transepts  are  rayonnant.  The  tower  is  characterized  by 
unmoulded  windows  in  two  orders  —  three  in  each  face  —  and  by  elliptical  arched 
corbel-tables.     (Johnson.) 

CONDE-SUR-AISNE,  Aisne.  St.  Pierre  et  St.  Paul  consists  at  present  of  a 
single-aisled  nave,  transepts,  and  a  rectangular  choir,  but  originally  there  were  no 
transepts.  The  nave  is  assigned  by  M.  Lefevre-Pontalis  to  c.  1125;  the  choir,  cov- 
ered with  a  pointed  barrel  vault,  is  about  contemporary.  The  walls  are  ornamented 
with  pointed  arcades.  About  the  end  of  the  XIII  century  the  uninteresting  tower 
was  built  over  the  choir.     (Lefevre-Pontalis,  Arch.  Rel.  Ill,  41.) 

Chapelle.  This  desecrated  edifice,  which  is  assigned  to  c.  1160  by  M.  Lefevre- 
Pontalis,  is  a  single-aisled  building  two  bays  long  terminating  in  a  square  east  end. 
It  was  formerly  supplied  with  rib  vaults,  but  these  have  been  destroyed.  (Lefevre- 
Pontalis,  Arch.  Rel.  Ill,  41.) 

MARIGNY-EN-ORXOIS,  Aisne.  Eglise  consists  at  present  of  a  nave  of  five 
bays,  two  side  aisles,  transepts,  and  a  polygonal  apse.  The  pointed  arches  of  the 
main  arcades  of  the  wooden-roofed  XIII  century  nave  are  in  a  single  unmoulded 
order,  and  are  supported  on  piers  with  chamfered  corners.  The  walls  of  the  side 
aisles  are  modern.  It  is  certain  that  there  were  no  transepts  in  the  original  edifice; 
the  existing  ones  date,  the  northern  from  c.  1240,  the  southern  from  perhaps  slightly 
later.  Both  are  vaulted.  The  seven-sided  apse  is  assigned  to  c.  1160  by  M.  Lefevre- 
Pontalis;  it  is  covered  with  a  finely  developed  radiating  vault  with  wall  ribs.  The 
fa9ade  is  without  interest,  and  the  tower  modern.  (Lefevre-Pontalis,  Arch.  Rel. 
II,  169.) 

MONTIGNY-LEUGRAIN,  Aisne.  Eglise  consists  of  a  nave  of  three  bays, 
two  side  aisles,  transepts,  a  central  tower,  and  a  rectangular  choir.  The  nave,  roofed 
in  wood  and  without  clearstory,  dates  from  the  XVI  century;  the  side  aisles  have 
been  rebuilt  in  modern  times.  A  highly  domed  rib  vault  without  wall  ribs,  assigned 
to  c.  1160  by  M.  Lefevre-Pontalis,  surmounts  the  crossing,  and  a  rib  vault  with  stilted 
wall  ribs,  apparently  of  the  same  epoch,  covers  the  choir.  The  fa9ade  is  of  the  XVI 
century,  the  tower  of  c.  1160.     (Lefevre-Pontalis,  Arch.  Rel.  II,  176.) 

CROUTTES,  Aisne.  St.  Quiriace  consists  of  a  wooden-roofed  nave,  two  side 
aisles,  transepts,  a  central  tower  of  c.  1160,  a  choir,  and  a  semicircular  apse.  On 
the  north  side  of  the  nave  are  preserved  three  pointed  arcades  in  two  orders,  assigned 
by  M.  Lefe^Te-Pontalis  to  c.  1160.  On  the  south  side  the  pilasters  formerly  engaged 
on  the  piers  were  replaced  in  the  XIII  century  by  great  engaged  columns.  The  aisles 
were  rebuilt  in  the  XVIII  century,  but  the  rib-vaulted  crossing  dates  from  c.  1160. 
The  existing  transepts  were  added  in  the  XIII  century,  and  the  portal  of  the  fa9ade 
was  altered  at  the  same  epoch.     (Lefevre-Pontalis,  Arch.  Rel.  II,  145.) 

OULCHY-LA-VILLE,  Aisne.  St.  Pierre  consists  of  a  nave  of  three  bays, 
two  modern  side  aisles  ending  in  absidioles,  a  lateral  tower,  a  choir,  and  a  semicir- 
cular apse.  The  nave,  roofed  in  wood,  is  characterized  by  arcades  of  round  arches 
and  by  square  piers.  This  portion  of  the  church  is  assigned  to  c.  1125  by  M. 
Lefevre-Pontalis.  A  square  bay  with  pointed  barrel  vault  of  the  same  period  pre- 
cedes the  absidiole  of  each  side  aisle.     The  choir  also  is  surmounted  by  a  polygonal 

235 


TRANSITIONAL   MONUMENTS 

barrel  vault  which  ends  in  a  pointed  half -dome  over  the  apse.  This  apse  is  adorned 
externally  with  plain  buttresses  and  flat  corbel-tables.  The  facade  is  modern.  The 
tower  of  c.  1125  is  notable  for  its  shafted  angles,  its  coupled  windows  in  two  orders, 
and  its  arched  string-courses.      (Lef^Te-Pon talis.  Arch.  Rel.  II,  77.) 

MARISY-ST.-JL\RD,  Aisne.  Eglise  begun,  according  to  M.  LefevTe-Pon- 
talis,  c.  1180,  was  finished  only  in  the  XIII  century.  It  consists  of  a  single-aisled 
nave,  a  choir,  and  a  nine-sided  apse,  the  rib-vaulted  side  aisles  having  been  destroyed 
in  modern  times.  The  three  rib  vaults  of  the  nave  are  assigned  to  c.  1120,  and  the 
fa9ade  is  contemporary.  The  choir  of  c.  1180  is  rib-vaulted,  and  the  apse  of  about 
the  same  epoch  is  furnished  with  a  fully  developed  radiating  vault  with  wall  ribs, 
although  the  windows  are  round-headed.     (Lefevre-Pontalis,  Arch.  Rel.  11,  171.) 

ALLONNE,  Oise.  Eglise,  of  unusual  plan,  consists  of  two  parallel  naves  and 
two  choirs  with  square  east  end.  The  southern  edifice  is  of  the  transitional  epoch, 
and  of  the  original  construction  there  remain  a  portion  of  the  groin-vaulted  choir, 
some  substructions  of  the  nave,  the  tower,  and  the  fa9ade.  These  fragments,  to  judge 
from  Woillez's  drawings,  must  date  from  the  first  quarter  of  the  XII  century. 
(Woillez.) 

CORBIE,  Somme.  Notre  Dame  consisted  originally,  as  is  known  from  an 
engraving  of  1677,  of  a  three-sided  apse,  transepts  with  eastern  aisles  and  square 
eastern  apses,  a  nave  three  double  bays  long,  side  aisles,  a  western  narthex,  and  a 
tribune.  Of  this  edifice  only  fragments  of  the  nave  —  which  is  now  desecrated  and 
difficult  to  study  —  and  the  portal  with  its  superbly  sculptured  lintel  survive.  It 
seems  evident,  however,  that  the  nave  was  vaulted,  and  that  each  compartment  of 
this  vault  corresponded  to  two  bays  of  the  side  aisles.  It  is  known  that  the  city  of 
Corbie  was  entirely  destroyed  by  fire  in  1137;  but  iSI.  Enlart  assigns  the  surviving 
fragments  of  the  edifice  to  1160-80.     (Enlart,  Arch.  Rom.,  91.) 

St.  Etienne.     A  sculptured  portal  of  the  XII  century  survives.     (Guide  Joanne.) 

St.  Pierre  is  an  edifice  principally  of  the  X\T  and  later  centuries.     (Guide  Joanne.) 

AUTHEUIL-EN-VALOIS,  Oise.  Prieiire.  This  desecrated  edifice,  assigned 
to  c.  1130  by  M.  Lefevre-Pontalis,  consists  of  a  nave  of  five  bays,  a  southern  side  aisle 
(the  northern  has  been  destroyed),  and  a  rectangular  choir.  The  nave,  covered  by 
a  timber  roof,  is  characterized  by  rectangular  piers,  arcades  of  pointed  and  unmoulded 
arches,  the  absence  of  a  system,  round-headed  windows,  and  a  finely  moulded  portal 
in  three  orders.  The  arched  corbel-tables  of  the  exterior  are  peculiarly  Itahan  in 
character.     (Lefe\Te-Pontalis.) 

St.  Martin.  The  oldest  portions  of  this  church  —  the  rib  vaults  of  the  tribune 
and  north  transept  —  are  assigned  by  M.  Lefevre-Pontalis  to  c.  1150,  but  the  main 
body  of  the  edifice  dates  from  the  XV  and  X^'I  centuries.  The  polygonal  apse  is 
lighted  by  six  round-headed  windows,  but  its  vaults  are  of  the  XA'  century.  (Lefe^Te- 
Pontalis.) 

ST.-ETIENNE-LEZ-PIERREFOXDS,  Oise.  Eglise  consisted  originally  of 
a  single-aisled  nave  and  a  semicircular  apse,  but  in  the  XYI  century  the  building 
was  entirely  altered,  two  side  aisles  and  transepts  being  added.  The  existing  nave, 
roofed  in  wood,  dates  from  the  time  of  Francois  I;  its  pointed  arcades  rest  upon  slen- 

236 


OTHER   MONUMENTS 

der  columns.  The  vaults  of  the  crossing  and  transepts  are  modern.  A  half-dome, 
assigned  by  M.  Lefevre-Pontalis  to  the  first  quarter  of  the  XII  century  (1115),  covers 
the  apse,  and  is  buttressed  externally  by  two  shafts  which  rise  from  the  ground  to  the 
cornice  but  are  not  supplied  with  capitals.     (Lefevre-Pontalis,  Arch.  Rel.  II,  85.) 

NANTEUIL-NOTRE-DAME,  Aisne.  Eglise  consisted  originaUy  of  a  single- 
aisled  nave  and  a  rectangular  choir,  but  about  1225  an  oblong  chapel  was  added  south 
of  the  choir.  The  existing  nave  is  modern.  The  choir,  assigned  to  c.  1175  by  M. 
Lefe%Te-Pontalis,  is  covered  with  rib  vaults  of  which  the  pointed  wall  ribs  rise  to  the 
same  height  as  the  transverse  arches.  Most  singular  are  the  ribs  of  the  second  bay 
decorated  with  spiral  fluting.  The  fa9ade  seems  to  date  from  the  first  half  of  the  XII 
century,  but  the  tower,  which  rises  over  the  choir,  is  modern.  (Lefevre-Pontalis, 
Arch.  Rel.  II,  179.) 

COURTHIEZY,  Marne.  Eglise  consisted  originally  of  a  single-aisled  nave 
roofed  in  timber  and  a  rectangular  choir,  but  in  the  XIII  century  a  side  aisle  was 
added.  The  barrel  vault  which  covers  the  first  bay  of  the  choir  is  of  the  first  quarter 
of  the  XII  century,  but  has  been  restored;  the  rib  vault  of  the  second  bay  is  of  the  XIII 
century.  Above  the  choir  rises  a  tower  of  c.  1130.  (Lefevre-Pontalis,  Arch.  Rel. 
in,  43.) 

NOITV'RON-LE-VINEUX,  Somme.  Uglise  consists  of  an  apse  covered  with 
pointed  rib  vaults,  transepts  with  absidioles,  a  central  lantern  with  octopartite  vault, 
a  nave  two  bays  long,  and  a  lateral  tower.  The  apse  and  transepts  are  assigned  to 
c.  1160  by  M.  Lefe%Te-Pontalis.  Except  in  the  tower  the  pointed  arch  is  used  con- 
sistently throughout  the  edifice.     (Lefevre-Pontalis,  Arch.  Rel.  II,  91.) 

BEAUQUESNE,  Somme.  Eglise.  With  the  exception  of  the  nave  of  the  XII 
century,  this  edifice  dates  from  the  XIII  century.  The  tower  is  square  and  crowned 
by  a  wooden  spire;  its  four  stories  are  ornamented  with  twin  lancets. 

TAILLEFONTAINE,  Aisne.  Ste.  Vierge.  The  pendant- vaulted  nave  five 
bays  long,  the  vaulted  side  aisles  of  the  same  height  as  the  nave,  and  the  polygonal 
apse  with  its  radiating  rib  vault  are  all  of  the  XVI  century.  The  round-arched  por- 
tal, however,  is  assigned  by  M.  Lefevre-Pontalis  to  the  first  quarter  of  the  XII  cen- 
tury. It  is  shafted,  in  three  orders,  and  ornamented  with  simple  mouldings  and 
chipped  chevrons.  About  1160  a  porch  with  pointed  barrel  vault  was  built  before 
it.  The  fine  tower,  which  rises  at  the  angle  of  the  porch  and  the  southern  side  aisle, 
was  built  c.  1530;  its  stone  spire  rests  on  a  platform  surrounded  by  a  balustrade  and 
flanked  by  pinnacles.     (Lefevre-Pontalis,  Arch.  Rel.  II,  92.) 

VIEL-ACY,  Aisne.  Eglise  consists  of  a  nave  of  four  bays,  two  side  aisles,  tran- 
septs, and  a  semicircular  apse.  The  nave,  assigned  by  M.  Lefevre-Pontalis  to  1135, 
has  a  wooden  ceiling;  its  pointed  arcades  are  in  two  orders,  and  rest  upon  rectangu- 
lar piers.  The  side  aisles  have  been  modernized.  In  the  XIII  century  transepts 
were  added  to  the  original  edifice,  but  one  of  these  was  rebuilt  in  the  XVI  century. 
A  pointed  barrel  vault  surmounts  the  crossing.  The  choir  is  assigned  to  c.  1130; 
the  apse  is  covered  with  a  simple  half-dome.  The  facade,  contemporary  with  the 
nave,  is  pierced  by  a  portal  in  two  orders,  shafted  and  ornamented  with  a  double 
chevron.     (Lefevre-Pontalis,  Arch.  Rel.  II,  103.) 

237 


TRANSITIONAL   MONUMENTS 

CAITVIGNY,  Oise.  St.  Martin.  Of  the  primitive  edifice  there  retnaia  only  a 
portion  of  the  exterior  wall  of  thfe  south  transept  and  the  tower,  which  is  octagonal 
and  crowned  by  a  spire.  To  judge  from  these  fragments  the  monument  must  have 
been  erected  c.  1150,  for  it  was  characterized  by  shafted  windows  in  two  orders, 
moulded  archivolts,  and  double  arched  corbel-tables.     (Woillez.) 

CROISSY,  Oise.  Eglise  has  been  entirely  rebuilt  in  recent  years  with  the  ex- 
ception of  the  narthcx-tower.  This  stood  at  the  west  end  of  the  church  which  was 
lately  demolished:  probably,  however,  it  was  not  built  for  this  position,  but  was 
originally  placed  between  the  choir  and  the  nave  of  a  still  earlier  edifice.  On  the 
character  of  its  sculpture  the  lower  part  of  the  tower  is  assigned  by  M.  Enlart  to  1115 
or  1120;  the  technique  is  uncertain,  the  stone  joints  wide,  the  vaults  simply  groined. 
The  upper  story  with  its  two  groups  of  two  shafted  windows  placed  on  each  face  is 
obviously  later,  and  is  assigned  to  the  second  quarter  of  the  XII  century.  (Enlart, 
Arch.  Rom.,  100.) 

FOULANGUES,  Oise.  St.  Denis.  The  plan,  w-hich  has  become  irregular 
in  consequence  of  the  alterations  and  additions  to  which  the  edifice  has  been  subjected 
since  its  original  construction,  consists  at  present  of  three  unsymmetrical  aisles  and 
an  irregular  square  east  end.  The  church  is  rib-vaulted  throughout.  These  vaults, 
which  may  be  assigned  to  c.  1140,  are  much  domed  and  without  wall  ribs;  many  are 
strangely  distorted.     The  system  is  logical  and  continuous.     (WoiUez.) 

YIC-SUR-AISNE,  Aisne.  Eglise  consists  of  a  nave,  two  side  aisles,  broad  tran- 
septs, and  a  polygonal  choir.  The  nave,  covered  with  a  wooden  ceiling,  is  divided 
into  five  bays,  and  is  assigned  to  c.  1110  by  M.  Lefevre-Pontalis;  the  round  arches 
of  its  main  arcades  are  in  two  orders,  and  the  light  piers  are  supplied  each  with  two 
engaged  colonnettes.  The  side  aisles  have  been  rebuilt  in  modern  times;  the  tran- 
septs date  from  the  XIII  and  XVI  centuries;  the  choir  is  modern.  A  gabled  portal 
in  three  orders  characterizes  the  fa9ade,  which  is  well  preserved  and  contemporary 
with  the  nave.     (Lefe^Te-Pontalis,  Arch.  Rcl.  II,  101.) 

VEUILLY-LA-POTERIE,  Aisne.  Eglise  consists  at  present  of  a  nave  of 
three  bays,  two  side  aisles,  transepts,  and  an  apse  five-sided  internally,  semicircular 
externally,  but  in  the  XII  century  there  were  no  transepts.  The  nave,  which  is 
assigned  to  c.  1170  by  M.  Lefe\Te-Pontalis,  was  originally  covered  with  a  wooden 
ceiling,  but  the  existing  vaults  —  among  the  earliest  to  be  erected  over  a  nave  in  the 
Soissonnais — were  added  c.  1200,  although  the  capitals  are  strangely  Romanesque  in 
character.  The  side  aisles  were  vaulted  in  the  XVI  and  X\TI  centuries.  A  rib  vault 
of  c.  1165  with  two  pointed  wall  ribs  surmounts  the  crossing.  The  transepts  were 
added  c.  1230,  but  the  southern  one  was  rebuilt  in  the  XVT  century.  A  radiating  rib 
vault  with  wall  ribs  covers  the  apse,  which  is  characterized  by  banded  shafts  and 
round-headed  windows.  The  fa9ade  is  a  work  of  the  XIH  century,  but  the  central 
tower  was  built  c.  1175.     (Lefe^Te-Pon talis.  Arch.  Eel.  11,  217.) 

SERGY,  Aisne.  Notre  Dame  consists  of  a  nave  of  five  bays,  two  side  aisles, 
transepts,  and  a  square  choir  of  the  XIII  century.  The  nave,  which  is  roofed  in 
wood,  must  date  from  the  second  quarter  of  the  XII  century;  the  pointed  arches  of 
the  main  arcade  are  in  two  orders,  and  rest  upon  cruciform  piers.     A  pointed  barrel 

238 


OTHER   MONUMENTS 

vault  surmounts  the  crossing,  which  is  assigned  by  M.  Lefevre-Pontalis  to  c.  1130. 
The  fafade  has  been  largely  rebuilt  in  modern  times.  (Lefe\Te-Pontalis,  Arch.  Rel. 
II,  91.)  \ 

CINQUEUX,  Oise.  Eglise.  Of  the  original  edifice,  which  may  be  assigned  to 
the  first  quarter  of  the  XII  century,  the  nave  and  two  side  aisles  survive.  These  are 
characterized  by  timber  roofs,  rectangular  piers,  unmoulded  archivolts  of  a  single 
order,  and  the  use  of  round  arches  throughout  except  in  the  relieving  arch  over  the 
lintel  of  the  main  portal. 

COUCY-LE-CHATEAU,  Aisne.  St.  Sauveur  is  remarkable  for  the  fa9ade, 
consisting  of  three  nearly  equal  gables.  Beneath  the  central  one  is  a  fine  sculptured 
portal  in  three  orders  and  other  debris  which  may  be  attributed  to  c.  1185;  the  lat- 
eral gables  are  said  to  date  from  1543.  The  nave  contains  piers  and  capitals  of  the 
XII  century. 

VAUMOISE,  Oise.  St.  Pierre  consists  of  a  modern  nave,  board  transepts  over 
the  northern  of  which  rises  a  tower,  absidioles,  and  a  semicircular  apse.  The  cross- 
ing is  surmounted  b3'  a  rib  vault  of  the  X^T  century,  but  still  retains  its  original  piers 
surrounded  with  colonnettes.  The  transepts  are  groin- vaulted,  but  the  absidioles 
have  pointed  half-domes.  M.  Lefevre-Pontalis  assigns  the  walls  of  the  transepts  to 
c.  1140,  and  the  choir  to  the  same  epoch.  The  apse  is  covered  with  a  radiating  rib 
vault.     The  fa9ade  is  modern.     (Lefevre-Pontalis,  Arch.  Rel.  II,  95.) 

FROU^TLLE,  Seine-et-Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  and  a 
semicircular  apse.  The  nave,  roofed  in  wood,  is  four  bays  long;  it  is  characterized 
by  piers  alternately  square  and  round  in  section,  pointed  arches,  the  absence  of  a 
sj'stem  and  of  a  triforium,  and  a  clearstory  reduced  to  a  series  of  oculi.  A  rib  vault 
surmounts  the  choir,  a  half -dome  the  apse;  both  are  reinforced  by  external  buttresses 
of  slight  projection.  The  south  lateral  tower  of  transitional  character  has  intersect- 
ing arcades,  grouped  shafted  windows,  and  drip  mouldings;  it  is  crowned  by  a  spire 
and  rudimentary  angle  turrets.  An  oculus  placed  in  the  gable  of  the  fa9ade  is  almost 
sufficiently  developed  to  be  called  a  rose  window.     (Baudot.) 

COULOISY,  Oise.  Eglise  in  the  XII  century  consisted  of  a  single-aisled  nave 
and  a  rectangular  choir,  but  transepts  and  two  side  aisles  have  been  added.  The 
nave,  covered  with  a  wooden  ceiling,  was  reconstructed  in  the  XVI  century;  the 
piers  with  undulating  mouldings  support  moulded  pointed  arches.  A  rib  vault  of 
c.  1170  surmounts  the  first  bay  of  the  choir.  The  transepts  of  the  XVI  century  have 
been  rebuilt  in  modern  times.  The  fa9ad,e  retains  a  portal  of  the  third  quarter  of 
the  Xn  century,  and  the  central  tower  is  of  the  same  epoch.  (Lefevre-Pontalis, 
Arch.  Rel.  II,  34.) 

VILLETERTRE,  Oise.  Eglise,  assigned  by  M.  Lefevre-Pontahs  to  c.  1130,  is 
notable  in  that  all  the  arches  of  the  vaults  are  pointed.  In  the  north  side  aisle  the 
vaults  have  been  made  over,  but  in  the  south  aisle  and  in  the  five  bays  of  the  nave 
the  original  rib  vaults  of  the  XII  century  are  still  preserved  intact.  (Lefe\Te-Pon- 
taUs,  Arch.  Rel.  U,  183.) 

TORCY,  Aisne.  Eglise  in  the  XII  century  consisted  of  a  single-aisled  nave,  a 
choir,  and  an  apse  semicircular  internally,  polygonal  without,  but  a  chapel  was  added 

239 


TRANSITIONAL   MONUMENTS 

in  the  XIII  century  and  a  side  aisle  in  the  XVI.  The  nave  was  not  vaulted  before 
the  X^^  century.  The  choir,  assigned  to  c.  1150,  preserves  a  rib  vault  of  the  epoch: 
the  ribs  are  all  supported  on  engaged  colonnettes.  A  ribbed  half -dome  covers  the 
apse.  The  facade  has  been  modernized,  but  contains  debris  of  the  late  XI  and  XII 
centuries.  The  tower  which  rises  over  the  choir  was  built  c.  1160;  it  is  character- 
ized by  pointed  windows  and  shafted  angles.  (Lefevre-Pontalis,  Arch.  Rel.  H, 
205.) 

FAY-ST.-QUENTIN,  Oise.  St.  Laurent,  which  conists  of  a  nave,  a  southern 
side  aisle,  and  a  rectangular  choir,  is  of  two  distinct  epochs;  to  the  first  (c.  1140) 
belong  the  choir  (except  its  principal  window  and  three  of  its  buttresses),  the  vaulted 
portions  of  the  nave,  and  part  of  the  south  aisle;  to  the  second,  which  is  somewhat 
later,  the  arcades  of  the  nave  and  the  vaults  of  the  aisle.  The  nave  is  covered 
with  groin  vaults,  except  the  eastern  bay,  which  is  rib-vaulted  hke  the  choir, 
(^'oillez.) 

TRELOUP,  Aisne.  St.  iledard  consists  of  a  nave,  two  side  aisles,  transepts, 
and  a  square  choir.  The  four  bays  of  the  nave  were  built  in  the  last  quarter  of  the 
XII  century,  according  to  M.  Lefe\Te-Pontalis,  but  the  original  ceiling  was  replaced 
by  a  vault  in  the  XVI  century.  The  pointed  arches  of  the  main  arcades  are  simply 
moulded,  and  rest  on  high  cruciform  piers.  A  rib  vault  of  c.  1170,  notwithstanding 
the  pointed  wall  arches  highly  domed,  surmounts  the  crossing.  The  remainder  of 
the  transepts,  including  even  the  colonnettes  which  support  the  vault  of  the  crossing, 
and  the  choir  are  of  the  XIII  century.  These  portions  of  the  edifice  are  vaulted. 
The  portal  is  a  remarkable  production  of  the  Renaissance,  but  the  central  tower  was 
built  c.  1170.     (Lefe\Te-Pontahs,  Arch.  Rel.  11,  205.) 

\"ERXEnL-Sl'R-MARXE.  Mame.  Si.  Martin  consists  of  a  nave  of  four 
bays,  two  side  aisles,  transepts,  and  a  rectangular  choir.  The  wooden-roofed  nave, 
which  may  be  assigned  to  c.  11.30,  was  originally  supplied  with  rectangular  piers  on 
each  of  which  were  engaged  tno  colonnettes,  as  mav  be  seen  in  the  third  bav  of  the 
north  arcade,  where  this  disposition  is  still  preserved  intact.  A  rib  vault  replaces 
the  pointed  barrel  vault  which  formerly  surmounted  the  crossing.  The  transepts 
and  the  choir  are  of  the  XIII  century.  The  western  portal,  in  two  orders  ornamented 
with  che%Tons  and  zig-zagged  shafts,  may  be  assigned  to  c.  1130:  the  central  tower 
is  perhaps  slightly  earlier.     (Lefevre-Pontalis,  Arch.  Rel.  II,  99.) 

HAEDRICOURT,  Seine-et-Oise,  tlglise.  Over  the  crossing  is  a  rib  vault 
assigned  by  M.  Lefe^Te-Pon talis  to  the  ipiddle  of  the  XII  century.  (Lefevre-Pon- 
talis, Arch.  Rel.  II,  87.) 

MORIGX'Y  (near  Etampes),  Seine-et-Oise.  Egli.se  Ahhatiale  is  said  by  M. 
St.  Paul  to  have  been  consecrated  in  1119. 

LUCHEUX,  Somme.  Prieure.  The  ancient  edifice  erected  between  1130  and 
1150,  according  to  M.  Enlart,  was  probably  damaged  in  the  course  of  the  wars  of 
the  XV  century;  at  least  it  was  restored  in  the  XVI  century.  Originally  the  monu- 
ment consisted  of  a  nave  of  five  bays,  two  side  aisles,  transepts,  a  rib-vaulted  choir 
two  bays  long,  a  five-sided  apse,  and  a  central  tower  which  no  longer  exists.  The 
wooden-roofed  nave  is  characterized  by  arcades  of  round  arches,  cylindrical  piers, 

240 


OTHER   MONUMENTS 

archivolts  in  two  unmoulded  orders,  and  round-Iieaded  windows.  The  choir  vaults 
have  heme,  but  no  wall,  ribs;  only  the  transverse  ribs  are  provided  with  shafts.  (En- 
lart.  Arch.  Rom.,  132.) 

VIFFORT,  Aisne.  Notre  Dame  (111.  159)  consists  of  a  single-aisled  nave  and 
a  rectangular  choir.  The  nave  of  the  first  quarter  of  the  XII  century  is  covered 
with  a  timbered  roof  of  the  XV  century.  The  first  bay  of  the  choir  is  surmounted 
by  a  tower  of  c.  1120,  and  is  furnished  with  a  rib  vault  assigned  to  c.  1115  by  M. 
Lefevre-Pontalis.  Since  the  arches  of  this  vault  are  all  semicircular,  the  surface  is 
necessarily  highly  domed;  it  is  noteworthy,  however,  that  wall  ribs  are  employed. 
(Lefevre-PontaUs,  Arch.  Rel.  II,  106.) 

VREGNY,  Aisne.  Eglise  consisted  originally  of  a  single-aisled  nave  with  a 
wooden  ceiling,  a  choir,  and  a  semicircular  apse,  but  at  the  end  of  the  XII  century 
a  northern  side  aisle  was  added.  The  choir,  which  is  assigned  by  M.  Lefevre-Pon- 
talis to  the  first  quarter  of  the  XII  century,  is  surmounted  by  a  slightly  pointed  groin 
vault;  the  apse  is  covered  with  a  half-dome.  A  tower,  assigned  to  c.  1120,  rises  over 
the  choir.     (Lefevre-Pontalis,  Arch.  Rel.  II,  107.) 

AUTHEUIL,  Seine.  Eglise.  The  tower  of  the  transitional  epoch  is  character- 
ized by  an  upper  story  consisting  of  windows  decorated  with  shafts  without  capitals 
or  base,  by  billet  mouldings,  by  arched  corbel-tables,  and  by  a  spire  with  elementary 
angle  turrets.     (Baudot.) 

ST.-VAAST-DE-LONGMONT,  Oise.  Eglise  consists  at  present  of  a  nave, 
a  side  aisle  ending  in  an  absidiole,  a  choir  of  two  bays,  and  an  apse,  but  the  original 
plan  comprised  only  a  single-aisled  nave,  a  central  tower,  and  an  apse.  The  wooden- 
roofed  nave,  built  according  to  M.  Lefevre-Pontalis  during  the  first  quarter  of  the 
XII  century,  has  been  modernized.  Restorations  have  also  destroyed  the  character 
of  the  side  aisle  erected  c.  1130,  but  the  absidiole,  covered  with  a  haU-dome  and  pre- 
ceded by  a  barrel-vaulted  bay,  is  still  preserved  intact.  The  choir  is  evidently  the 
work  of  two  different  epochs:  the  first  bay  is  the  more  ancient,  and  the  rib  vault  of 
the  XVI  century  which  now  surmounts  it  evidently  replaces  a  groin  vault  of  first  quar- 
ter of  the  XII  century;  the  second  bay  and  the  apse  —  both  rib-vaulted  —  are 
assigned  to  c.  1140.  Externally  the  church  is  characterized  by  a  tower  with  spire 
and  angle  pyramids  and  by  a  fa9ade  of  c.  1130  notable  for  its  extraordinarily  rich 
portal  adorned  with  four  orders  of  chevrons  and  surmounted  by  a  gable.  (Lefevre- 
Pontalis,  Arch.  Rel.  II,  86.) 

ST.  LAZARE,  Oise.  Eglise  consists  of  a  nave  of  three  bays,  deeply  projecting 
transepts,  a  choir  flanked  by  two  rectangular  chapels,  and  a  square  apse.  The  choir 
(with  the  exception  of  certain  portions  of  its  western  bay),  the  nave,  and  the  transepts 
are  part  of  the  original  edifice  of  c.  1140;  the  chapels  and  the  central  tower  are  addi- 
tions of  the  XIII  century.  The  crossing  and  chapels  are  rib-vaulted,  the  choir  barrel- 
vaulted,  and  the  apse  groin-vaulted.  In  general  the  ornament  is  analogous  to  that 
of  St.  Etienne  of  Beauvais;  the  western  portal  is  finely  moulded,  and  its  tympanum 
is  adorned  with  curious  diapering.     (Woillez,  S,  20.) 

FIEFFES,  Somme.  Eglise  consists  of  a  nave  of  c.  1170  restored  in  the  rayon- 
nant  and  flamboyant  periods,  two  side  aisles  of  the  XVI  century,  a  northern  transept 

241 


TRANSITIONAL   MONUMENTS 

of  the  XII  century  surmounted  by  a  tower  whose  upper  portions  are  of  the  XPV  cen- 
tury, a  chapel  substituted  in  1575^for  the  southern  transept,  and  a  rectangular  choir. 
The  wooden-roofed  nave  is  characterized  by  pointed  arcades,  round-headed  windows, 
and  a  round-arched  portal.     (Enlart,  Arch.  Rom.,  124.) 

HAUTEVESNE,  Aisne.  St.  Remi  consists  of  a  nave,  two  side  aisles,  transepts, 
and  a  polygonal  apse.  The  three  bays  of  the  nave  and  the  side  aisles  have  been 
rebuilt  in  modern  times,  but  the  rib  vault  over  the  crossing  is  assigned  to  c.  1175  by 
M.  Lefevre-Pontalis.  This  vault  has  no  wall  ribs;  the  diagonals  are  furnished  with 
separate  shafts.  The  transepts  were  rebuilt  in  the  XVI  century.  A  radiating  rib 
vault  of  c.  1170, also  without  wall  ribs,  surmounts  the  choir,  and  is  supported  on  ringed 
shafts.  The  fafade  is  modern,  but  the  central  tower  dates  from  c.  1180.  (Lefevre- 
Pontalis,  Arch.  Rel.  II,  162.) 

MARIZY-STE.-GENEVlfiVE,  Aisne.  Eglise  consists  at  present  of  a  single- 
aisled  nave,  a  rectangular  choir  flanked  to  the  north  by  an  aisle  of  the  XIII  century, 
and  a  central  tower,  but  the  nave  was  probably  originally  supplied  with  two  side  aisles. 
The  existing  nave  is  modern;  the  choir,  surmounted  by  three  rib  vaults  with  pointed 
wall  ribs,  is  assigned  to  c.  1140  by  M.  Lefevre-Pontalis.  The  central  tower,  which 
dates  from  the  same  epoch,  is  characterized  by  shafted  corners,  pointed  arches,  con- 
tinuous abaci,  rich  ornament,  and  the  absence  of  buttresses.  (Lefevre-Pontalis, 
Arch.  Rel.  II,  65.) 

BENY,  Aisne.  Eglise  erected,  according  to  M.  Lefevre-Pontalis,  c.  1125  con- 
sisted originally  of  a  single-aisled  nave,  a  central  tower,  and  a  semicircular  apse,  but 
c.  1150  a  northern  side  aisle  was  added.  The  timber-roofed  nave  is  lighted  by  two 
windows  of  the  XVI  century;  the  choir  is  surmounted  by  a  rib  vault,  some  of  whose 
arches  are  round,  some  pointed.  A  ribbed  half-dome  covers  the  apse.  Externally 
the  fa9ade  is  modern,  but  the  ancient  central  tower  survives.  (Lefevre-Pontalis, 
Arch.  Rel.  Ill,  30.) 

HANGEST-EN-SANTERRE,  Somme.  Eglise  consists  of  a  polygonal  apse 
much  modernized,  a  choir  of  the  XIII  century,  a  nave  of  the  XV  century,  and  a  late 
flamboyant  tower.  Of  the  edifice  of  the  XII  century  only  the  portal  survives.  This 
is  round-arched,  in  three  orders,  and  adorned  with  developed  mouldings;  it  is  assigned 
to  1160-70  by  M.  Enlart.     (Enlart,  Arch.  Rom.,  129.) 

VIEILS-MAISONS,  Aisne.  Ste.  Croix  consists  of  a  nave,  two  side  aisles,  tran- 
septs, and  a  rectangular  choir.  The  wooden-roofed  nave,  four  bays  long,  is  a  work  of 
the  'KVJ  century;  its  pointed  arcades  are  supported  on  cylindrical  piers.  The  aisles 
were  rib-vaulted  in  1856;  the  crossing  of  c.  1115  was  revaulted  in  1809;  the  transepts 
are  entirely  modem.  A  pointed  barrel  vault,  assigned  to  c.  1110  by  M.  Lefevre- 
Pontahs,  surmounts  the  choir.  The  central  tower  is  contemporary.  (Lefevre-Pon- 
talis, Arch.  Rel.  U,  105.) 

DOMONT,  Seine-et-Oise.  Eglise.  (111.  184).  The  groin-vaulted  ambulatory 
of  this  church  is  surmounted  by  perhaps  the  earhest  flying  buttresses  that  have  come 
down  to  us.  These  buttresses  are  a.ssigned  by  M.  Lefevre-Pontalis  '  to  c.  1160,  but 
it  may  well  be  doubted  if  they  be  not  somewhat  earlier.     The  vault  of  the  semicircu- 

>  Arch.  Rel.  I,  93. 

242 


OTHER   MONUMENTS 

lar  chevet  is  of  the  early  XIII  century,  and  is  supplied  with  much  stilted  wall  ribs, 
which,  like  the  other  ribs,  are  supported  on  a  logical  system  rising  from  the  abaci 
of  the  cylindrical  piers.  For  the  rest,  the  chevet  is  characterized  by  main  arcades 
whose  square  profile  is  softened  only  by  chamfered  edges,  by  a  high  triforium,  by 
clearstory  windows  occupying  nearly  the  whole  of  the  wall  space,  and  by  pointed  arches. 
The  nave  and  side  aisles,  reconstructed  in  1868,  retain  their  primitive  dispositions, 
but  the  fa9ade  has  been  rebuilt  on  an  entirely  new  design.  (Arch,  de  la  Com.  des 
Mon.  Hist.  I,  43.) 

ST.-VAAST-LES-MELLO,  Oise.  Eglise.  The  nave  vaults,  dating  from 
c.  1125  according  to  M.  Lefevre-Pontalis,  are  without  wall  ribs;  the  transverse  and 
diagonal  ribs  rest  upon  shafts  and  corbels.  The  rib  vaults  of  the  side  aisles  were 
rebuilt  in  the  XV  century.     (Lefe^Te-Pon talis.  Arch.  Rel.  I,  84;  Woillez,  ap.) 

ST.  TAURIN,  Somme.  Prieure.  The  single-aisled  nave  which  still  survives 
is  a  simple  but  fine  example  of  the  architecture  of  the  third  quarter  of  the  XII  century. 
It  was  formerly  covered  with  two  rib  vaults,  square  in  plan,  but  these  have  now  fallen. 
(Enlart,  Arch.  Rom.,  164.) 

FOLLAINVILLE,  Seine-et-Oise.  Eglise  The  rustic  tower,  which  stands  to 
the  north  of  the  choir,  is  the  most  interesting  part  of  this  monument.  The  belfry 
is  characterized  by  pointed  arches.     (Johnson.) 

FOREST-L'ABBAYE,  Somme.  Chapelle  which  is  assigned  by  M.  Enlart  to 
c.  1165  consists  of  a  nave  without  interest,  a  choir,  and  a  semicircular  apse.  The 
rib  vaults  of  the  choir  and  apse  are  reinforced  by  well-developed  external  buttresses. 
(Enlart,  Arch.  Rom.,  125.) 

CONFLANS-STE.-HONORINE,  Seine-et-Oise.  Eglise,  with  the  exception 
of  the  fine  tower  of  the  XII  century,  dates  from  the  early  Gothic  period,  and  consists 
of  a  nave,  two  side  aisles,  a  choir  three  bays  long  flanked  by  side  aisles,  and  a  polyg- 
onal apse.  The  nave  and  its  aisles  are  roofed  in  timber,  but  the  choir  is  entirely 
vaulted.  The  tower,  which  may  be  assigned  to  c.  1160,  is  characterized  by  arched 
corbel-tables,  round  arches,  and  fine  mouldings;  it  is  surmounted  by  a  spire  with 
four  angle  turrets.     (Arch,  de  la  Com.  des  Mon.  Hist.  I,  8.) 

VERDILLY,  Aisne.  Eglise,  assigned  to  c.  1130  by  M.  Lefevre-Pontalis,  con- 
sists of  a  nave,  a  side  aisle  added  apres  coup  c.  1150,  and  a  rectangular  choir.  The 
nave,  roofed  in  wood,  is  separated  from  the  side  aisle  by  an  arcade  of  three  pointed 
arches  resting  upon  heavy  piers.  The  choir  is  covered  with  a  pointed  barrel  vault. 
Externally  the  edifice  is  remarkable  for  its  rich  western  portal,  whose  double  orders 
are  ornamented  with  shafts  and  quadruple  chevrons.  (Lefe\Te-Pontalis,  Arch.  Rel. 
n,  98.) 

CONTEVILLE,  Somme.  St.  Nicolas.  This  timber-roofed  edifice  consists 
of  a  rectangular  choir  which  may  be  assigned  to  the  first  quarter  of  the  XH  century, 
and  a  nave  of  1742.  Externally  the  choir  is  ornamented  with  double-arched  corbel- 
tables  and  pilaster  strips.     (Woillez.) 

FRANCASTEL,  Oise.  Eglise.  The  rectangular  rib-vaulted  choir  of  two  bays, 
which  is  the  only  portion  of  this  monument  earlier  than  the  XIII  century,  may  be 
assigned  to  c.  1130.    The  capitals  are  crude,  but  the  abaci  have  developed  mouldings. 

243 


TRANSITIONAL   MONUMENTS 

Externally  the  walls  are  ornamented  with  double  arched  corbel-tables  and  shallow 
buttresses.     (Woillez,  F,  8.) 

BOUVINCOURT,  Somme.  St.  Hilaire  is  said  to  contain  some  fragments  of 
transitional  architecture,  although  the  edifice  was  almost  entirely  rebuilt  in  the  XV 
century.  The  design  is  characterized  by  a  western  tower,  three  aisles,  transepts, 
and  cylindrical  piers.     (Darsy.) 

SACONIN,  Aisne.  Eglise,  which  was  originally  constructed,  M.  Lefevre-Pon- 
talis  believes,  between  1135  and  1140,  consists  of  a  nave,  two  side  aisles  completely 
modernized,  and  a  choir.  The  nave  has  a  wooden  ceiling;  the  pointed  arches  of 
the  main  arcade  rest  upon  piers  on  each  of  which  are  engaged  two  colonnettes  sup- 
porting the  inner  order  of  the  archivolts  and  a  third  shaft  opposite  the  side  aisle. 
The  choir  consists  of  two  bays  of  which  the  eastern  has  a  pointed  barrel  vault,  the 
western  a  rib  vault.  This  rib  vault  lacks  wall  ribs,  and  is  highly  domed.  The 
fa9ade  and  the  central  tower  are  both  of  the  XII  century.  (Lefevre-Pontalis,  Arch. 
Rel.  II,  83.) 

BLANGY-SUR-POIX,  Somme.  Eglise,  whose  original  dispositions  can  still 
be  traced  notwithstanding  several  modern  restorations,  consists  of  a  nave  of  a  single 
aisle  and  a  rectangular  choir,  both  unvaulted.  The  tower  whose  upper  story  is 
octagonal  rises  to  the  north  at  the  junction  of  the  choir  and  nave;  its  openings  are 
all  round-arched,  except  that  certain  windows  have  a  flat  lintel  supported  by  a  column 
and  surmounted  by  a  blind  arch.  The  tower  is  assigned  to  the  first  quarter,  the  rest 
of  the  church  to  the  second  quarter,  of  the  XII  century,  by  M.  Enlart.  (Enlart,  Arch. 
Rom.,  89.) 

ORROUY,  Oise.  St.  Remi  consists  of  a  narthex  surmounted  by  a  tower  of  c. 
1130,  a  nave  of  four  bays,  two  side  aisles,  and  a  rectangular  choir  of  the  XVI  century. 
The  narthex  is  covered  by  a  pointed  barrel  vault.  The  unvaulted  nave,  which  is 
assigned  to  c.  1125  by  M.  Lefevre-Pontalis,  was  originally  supplied  with  two  arcades 
of  pointed  arcades  resting  on  rectangular  piers,  but  on  the  north  side  these  piers  were 
cut  down  to  the  form  of  columns  in  the  XVI  century.  Fine  glass  of  the  XVI  century 
characterizes  the  vaulted  choir.     (Lefevre-Pontalis,  Arch.  Rel.  II,  75.) 

ROZET-ST.-ALBIN,  Aisne.  Eglise  has  been  completely  modernized  with  the 
exception  of  the  tower  which  rises  over  the  eastern  bay  of  the  southern  side  aisle. 
The  first  story  of  this  tower  is  assigned  to  c.  1150  by  M.  Lefevre-Pontalis,  and  is 
characterized  by  roimd-arched  coupled  windows  in  two  shafted  orders;  the  upper  por- 
tions are  later,  and  are  characterized  by  shafted  angles,  arched  corbel-tables,  bases 
with  griffes,  and  grouped  pointed  windows.  (Lefevre-Pontalis,  Arch.  Rel.  II, 
180.) 

CHAMANT,  (near  Senlis),  Oise.  Eglise  (111.  188)  of  the  early  XII  century 
possesses  a  most  remarkable  spire  supplied  with  acutely  gabled  dormers  with  pierced 
tympana.     (Moore,  183.) 

VAUDIERES,  Marne.  Eglise  consisted  originally  of  a  nave  and  a  rectangular 
choir,  but  a  side  aisle  and  transepts  have  been  added.  The  timber-roofed  nave  is 
assigned  to  c.  1125  by  M.  Lefevre-Pontalis;  the  side  aisle  was  added  c.  1150;  the 
crossing  was  rib-vaulted  about  the  same  epoch.     Externally  the  edifice  is  character- 

244 


OTHER   MONUMENTS 

ized  by  the  porch  of  c.  1130  which  precedes  the  fa9ade  and  by  the  modern  tower. 
(Lefevre-Pontalis,  Arch.  Rel.  II,  94.) 

CHAMBLY,  Oise.  Eglise.  This  rural  edifice  is  characterized  by  the  tower 
which  rises  at  the  west  end.  The  ornament  includes  arched  corbel-tables  and  a  sculp- 
tured bird  placed  in  the  apex  of  the  gable.     (Woillez,  ap;  Moore.) 

TRIE-LA-VILLE,  Oise.  Eglise,  assigned  to  c.  1140  by  M.  Lefevre-Pontalis, 
is  notable  for  the  ribs  adorned  with  double  chevrons  sculptured  on  the  voussoirs. 

DOMFRONT,  Oise.  Eglise  dates  from  the  XVI  century  with  the  exception 
of  the  tower,  which  M.  Enlart  assigns  to  the  early  XII  century.  The  coupled  win- 
dow openings  of  this  tower  are  shafted,  and  in  the  belfry  grouped.  (Enlart,  Arch. 
Rom.,  104.) 

MERLEMONT,  Oise.  Chapelle  St.  Arnault  consists  of  a  single-aisled  nave,  a 
barrel-vaulted  choir,  and  an  apse.  The  crude  capitals  are  ornamented  with  sculp- 
tured animals.     (Woillez.) 

OISEMONT,  Somme.  Doyenne  was  burnt  in  the  time  of  the  Revolution,  and 
is  consequently  much  ruined.  The  choir,  like  the  nave  and  the  side  aisles,  seems  to 
date  from  the  end  of  the  XIII  century.  In  the  bell  tower  of  1687,  however,  is  pre- 
served a  portal  of  elegant  simplicity  which  may  be  assigned  to  the  third  quarter  of 
the  XII  century.     (Enlart,  Arch.  Rom.,  153.) 

HERMES,  Oise.  Eglise.  The  fa9ade,  with  the  exception  of  the  portal  of  the 
Xn  century,  and  the  north  wall  of  the  nave  are  constructed  of  small  masonry,  and 
are  probably  the  oldest  portions  of  the  edifice;  the  central  tower  with  very  charm- 
ing twin  windows  dates  from  the  end  of  the  XII  century;  the  choir  is  flamboyant. 
(Woillez,  ap.) 

LINAY,  Seine-et-Oise.  Eglise.  The  tower,  which  is  the  most  interesting  part 
of  this  church,  is  characterized  by  angle  shafts,  arched  corbel-tables,  a  belfry  com- 
posed of  coupled  round-arched  windows  richly  moulded,  and  a  spire  with  dormers 
and  angle  turrets.     (Johnson.) 

HANGEST-SUR-SOMME,  Somme.  Sglise  is  an  edifice  of  the  XVI  and  XVH 
centuries  with  the  exception  of  the  tower,  which  is  assigned  to  c.  1170  by  M.  Enlart, 
although  it,  too,  was  altered  in  the  XVI  century.     (Enlart,  Arch.  Rom.,  130.) 

CORMEILLES-EN-PARISIS,  Seine-et-Oise.  Eglise  is  of  interest  for  the 
cr3^t  which,  according  to  M.  Lefevre-Pontalis,  contains  the  most  ancient  rib  vaults 
of  the  diocese  of  Paris.     The  church  itself  dates  from  XIII  and  XV  centuries. 

MONTIERS,  Aisne.  Notre  Dame  consists  of  a  rectangular  choir  of  the  XIII 
century,  transepts  assigned  to  c.  1125  by  M.  Lefevre-Pontalis,  a  central  tower  which 
dates  from  the  same  epoch  although  the  crossing  is  covered  by  a  rib  vault  of  the  XIII 
century,  and  a  nave  rebuilt  in  1870.     (Lefe\Te-Pontalis,  Arch.  Rel.  II,  68.) 

VACQUERIE,  Oise.  Eglise,  which  is  an  excellent,  if  plain,  example  of  the  archi- 
tecture of  the  third  quarter  of  the  XII  century,  consists  of  a  western  tower,  a  single- 
aisled  nave  four  bays  long,  and  a  five-sided  apse.  The  windows  are  all  round-headed; 
the  edifice  is  roofed  in  wood  throughout.     (Enlart,  Arch.  Rom.,  157.) 

MAISNIERES,  Somme.  Eglise  consists  of  a  modern  choir  and  a  single-aisled 
nave  roofed  in  timber.     The  windows  of  this  nave  were  made  over  in  the  XVII  cen- 

245 


TRANSITIONAL   MONUMENTS 

tury;  the  walls  are  assigned  to  c.  1100  by  M.  Enlart;  the  portal  is  Gothic.  (Enlart, 
Arch.  Rom.,  1-11.) 

MARISSEL,  Oise.  Eglisc.  The  rectangular  choir  and  the  tower  are  of  the 
XII  century,  the  fine  portal  and  the  nave  of  the  XVI  century. 

FRANSART,  Somme.  Eglise.  The  side  aisles  and  the  choir  are  modern. 
The  great  pointed  arches  of  the  nave  arcades  are  simple  in  profile,  and  are  assigned 
to  the  last  half  of  the  XII  century  by  M.  Enlart.     (Enlart,  Arch.  Rom.,  127.) 

JOU\-LE-COMTE,  Seine-et-Oise.  Eglise.  According  to  M.  St.  Paul  this 
church  dates  from  11-15-50,  and  is  characterized  by  an  ambulatory  with  a  pier  on  axis. 

GAILLON,  Seine-et-Oise.  Egli'ie.  Of  the  edifice  of  1120-50  the  rib-vaulted 
nave,  the  crossing,  and  the  central  tower  still  sur\'ive,  but  the  existing  rectangular 
choir  and  its  side  aisles  are  of  the  XIII  century.     (Coquelle.) 

SAINTINES,  Oise.  St.  Denis  consists  at  present  of  a  nave,  a  single  side  aisle, 
and  a  rectangular  choir,  but  in  the  XII  century  there  was  no  side  aisle,  and  the  edi- 
fice terminated  in  a  semicircular  apse.  The  nave,  almost  entirely  reconstructed  in 
the  XVI  century,  is  covered  with  a  wooden  ceiling,  but  the  side  aisle  of  the  XIII  and 
XVI  centuries  is  in  part  vaulted.  The  rib-vaulted  choir  belongs  to  two  distinct 
epochs:  the  first  bay,  which  is  surmounted  by  the  tower,  was  built  c.  1125;  the  sec- 
ond is  of  the  XIII  century.  A  low  spire  with  angle  p}Tamids  crowns  the  tower, 
which  is  assigned  to  c.  1130  and  is  characterized  by  pointed  windows  and  angle  shafts. 
(Lefe\Te-Pontalis,  Arch.  Rel.  II,  89.) 

FITZ-JAMES,  Oise.  Eglise  consists  of  a  wooden-roofed  nave,  a  southern  side 
aisle  added  apres  coup,  a  central  tower,  and  a  choir.  The  facade,  the  nave,  and  a 
portion  of  the  choir  belong  to  the  original  construction  which  may  be  assigned  to  c. 
1145.  Beneath  the  central  tower  is  a  rib  vault  of  the  same  epoch;  this  vault  has  no 
wall  ribs.  The  western  portal  is  pointed  and  finely  moulded.  Externally  the  edi- 
fice is  ornamented  with  arched  corbel-tables  and  shallow  buttresses.  (Woillez,  F, 
5.) 

^^LLERS-LfiS-ROYE,  Somme.  Eglise  reconstructed  in  the  XVII  century, 
contains  several  piers  and  the  lintel  and  jambs  of  a  portal  belonging  to  an  edifice  of 
the  XII  century.  The  piers  are  of  rectangular  section:  the  main  archivolts  are  pointed 
and  in  two  orders.  This  debris  is  assigned  to  c.  1160  by  M.  Enlart.  (Enlart,  Arch. 
Rom.,  169.) 

CLERMONT,  Oise.  St.  Arnoiilt  is  said  to  have  been  dedicated  in  1114  by 
Peter,  bishop  of  Beauvais,  but  the  earliest  fragments  which  remain  —  certaLa  debris 
excavated  in  1828  —  can  hardly  be  earlier  than  the  middle  of  the  XII  century.  The 
existing  edifice  was  erected  in  1359  but  was  much  altered  in  the  XV  century,  when 
an  extra  southern  side  aisle  and  transepts  were  added.     (Woillez;  Guide  Joanne.) 

St.  Samson. 

CANLY,'  Oise.  St.  Martin.  The  rectangular  choir,  the  northern  half  of  the 
single-aisled  nave  and  the  corresponding  portion  of  the  fa9ade  of  this  country  church 
may  be  assigned  to  c.  1150.  There  are  no  vaults.  The  windows  are  shafted  and 
in  two  orders,  the  portal  has  fine  mouldings.     A  tower  rises  over  the  choir.     (Woillez.) 

'  Or  Canly-Grandfresnoy. 
246 


I 


OTHER   MONUMENTS 

BLESMES,  Aisne.  Eglise  consisted  originally  of  a  nave  of  a  single  aisle  and 
a  rectangular  choir,  but,  when  the  nave  was  rebuilt  about  the  end  of  the  XV  century, 
a  southern  side  aisle  was  added.  The  nave  is  now  supplied  with  modern  vaults; 
the  choir,  with  barrel  vaults  of  c.  1130  which  have  recently  been  coated  with  plaster. 
The  portal  is  of  the  XII  century,  but  the  tower  is  modern. 

ROYE,  Somme.  Eglise.  The  fa9ade,  the  only  remains  of  the  transitional 
church,  is  said  by  M.  Enlart  to  be  not  later  than  1184,  and  is  characterized  by  an 
early  rose  window.  The  pointed  portal,  which  is  somewhat  earlier  than  the  rest 
of  the  fa9ade,  is  assigned  to  1130-60  by  M.  Enlart;  it  is  ornamented  with  a  sculptured 
tympanum,  chevrons,  and  other  less  familiar  motives.     (Enlart,  Arch.  Rom.,  157.) 

PICQUIGNY,  Somme.  Eglise  du  Chateau,  which  is  a  melange  of  architectural 
fragments  of  the  XIII,  XIV,  XV,  and  XVI  centuries,  possesses  an  unvaulted  southern 
transept  of  the  end  of  the  XII  century.     (Enlart,  Arch.  Rom.,  154.) 

BULEUX,  Somme.  Eglise  is  of  interest  for  the  fa9ade,  which  is  assigned  to 
the  XI  century,  and  for  the  nave  of  the  end  of  the  XII  century.  The  nave  is  charac- 
terized by  cylindrical  piers,  archivolts  in  two  orders,  and  the  absence  of  a  system. 
(Enlart,  Arch.  Rom.,  91.) 

BULLES,  Oise.  Ahhaye.  The  portal,  which  is  the  only  portion  of  the  ancient 
edifice  which  survives,  must  date  from  the  middle  of  the  XII  century,  for  it  is  in  three 
round-arched  orders  richly  ornamented  with  hood  mouldings,  double  chevrons,  rin- 
ceaux,  rosettes,  etc.     (Woillez.) 

DOURDAN,  Seine-et-Oise.  St.  Germain  is  said  to  contain  fragments  of  the 
architecture  of  all  epochs  from  the  XII  to  the  XVII  century:  the  facade,  flanked  by 
two  unequal  towers  ending  in  steep  roofs,  is  of  the  XIV  and  XV  centuries;  the  ar- 
cades of  the  side  aisles  ornamented  with  chevrons  are  of  the  XII  century.  The  edi- 
fice is  supplied  with  lateral  chapels.     (Guide  Joanne.) 

BOUTENCOURT,  Somme.  St.  Eiienne.  The  two  side  aisles  are  separated 
from  the  nave  by  cylindrical  columns  with  Gothic  capitals.  It  is  said,  however,  that 
the  very  small  windows  of  the  nave  are  of  the  XII  century.     (Darsy.) 

MONCHY-ST.-ELOI,  Oise.  Eglise  consists  of  a  single-aisled  nave,  a  rect- 
angular choir,  and  a  central  tower.  The  crossing  is  surmounted  by  a  rib  vault,  whose 
ribs  are  ornamented  with  chevrons.  The  exterior  is  ornamented  with  an  arched 
corbel-table.     (Woillez,  ap.) 

TRUCY,  Aisne.  Eglise,  assigned  by  M.  Lefevre-Pontalis  to  the  first  quarter 
of  the  XII  century,  contains  remarkable  sculptures  but  no  vaults. 

OUDEUIL,  Oise.  Eglise.  The  square  choir,  whose  eastern  wall  is  pierced 
by  two  windows  rebuilt  in  modern  times,  is  surmounted  by  a  rib  vault  constructed 
like  a  chevet  vault,  an  extra  rib  running  from  the  keystone  to  the  middle  of  the  east- 
em  wall.     The  diagonals  are  semicircular,  the  other  ribs  pointed.     (Woillez,  ap.) 

LA  BRUYERE,  Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts,  a 
rectangular  choir,  and  a  central  tower  ornamented  with  arched  corbel-tables.  (Woil- 
lez, ap.) 

BONNEVAL,  Eure-et-Loire.  Notre  Dame  is  said  to  date  mainly  from  the  XII 
century. 

247 


TRANSITIONAL   MONUMENTS 

BRETEUIL,  Oise.  Ahhaye.  Of  the  edifice  which,  according  to  Woillez,  was 
consecrated  in  1165,  there  remaihs  only  the  southern  wall  of  the  nave,  the  rest  of 
the  church  having  been  rebuilt  in  the  Gothic  period.  This  wall  is  ornamented 
with  double  arched  corbel-tables,  arched  string-courses,  and  pronounced  buttresses. 
(Woillez.) 

St.  Cyr  consists  of  a  single-aisled  wooden-roofed  nave,  a  rectangular  choir  of 
two  bays  covered  with  round-arched  groin  vaults,  and  a  flamboyant  tower.  The 
buttresses  are  shallow  but  very  broad.     (Woillez,  ap;  Johnson.) 

POUZEL,'  Somme.  Notre  Dame,  which  consists  of  a  single-aisled  nave  and  a 
three-sided  apse,  contains  a  portal  of  the  XII  century.  The  edifice  was  recon- 
structed in  the  rayonnant  period  and  vaulted  in  the  XVI  century.     (Breard.) 

ABBECOURT,  Oise.  Eglise.  The  nave  and  fa9ade  of  this  single-aisled, 
wooden-roofed,  country  church  are  earlier  than  the  XIII  century.     (Woillez.) 

RIEUX,  Oise.  Eglise,  whose  side  aisles  have  been  destroyed,  is  of  interest  for 
the  octagonal  tower  which,  notwithstanding  alterations,  still  retains  on  its  northern 
face  an  arcade  with  billet  mouldings;  for  its  crude  capitals;  and  for  the  western  facade 
characterized  by  a  pointed  portal,  a  lancet  window,  and  a  false  rose  window  placed 
in  the  gable.     (Woillez;  Johnson.) 

HERCHIES,  Oise.  Eglise  is  "small,  not  vaulted,  curious  for  its  very  simplicity, 
the  rectangular  nave  being  separated  from  a  smaller  choir  of  the  same  form  by  a 
round  arch."     (Woillez.) 

URCEL,  Aisne.  Eglise,  without  vaults,  is  assigned  by  M.  Lefevre-Pontalis  to 
the  first  quarter  of  the  XII  century. 

NOGENT-LES-VIERGES,  Oise.  Eglise.  This  simple  edifice  possesses  an 
interesting  tower  in  four  stories,  characterized  by  arched  corbel- tables  and  angle  but- 
tresses of  several  ressauts.     (Woillez,  ap;  Johnson.) 

MfiRU,  Oise.  Eglise.  Beneath  the  existing  wooden  tower  is  hidden  a  tower 
of  the  XII  century  whose  second  story  was  rebuilt  in  the  XIII  century.  (Woillez, 
ap.) 

MERVAL,  Aisne.  Eglise  consists  of  a  modern  nave  without  side  aisles  and  a 
square  choir  assigned  to  c.  1160.  This  choir  is  surmounted  by  a  highly  domed  rib 
vault  with  a  full  set  of  ribs.  The  capitals  are  finely  sculptured.  (Lefevre-Pontalis, 
Arch.  Rel.  II,  173.) 

NESLES,  Marne.  Ahhaye  of  the  XII  century  had  transepts,  a  central  tower, 
and  a  semicircular  apse.  The  edifice  is  completely  ruined,  and  the  vaults  have  all 
fallen.     (Amaud,  75.) 

ST.  MARTIN,  Seine-et-Oise.  Eglise.  The  central  tower,  which  may  be  as- 
signed to  c.  1120,  possesses  an  octagonal  upper  story,  round-arched  windows  in  two 
orders  with  drip  mouldings,  and  arcading  supported  on  double  shafts.  (Johnson.) 
COQUEREL,  Somme.  flglise.  Beneath  the  western  porch  of  this  flamboy- 
ant edifice,  remarkable  for  its  open  work  spire,  is  a  portal  of  the  end  of  the  XII  cen- 
tury.    (Enlart,  Arch.  Rom.,  97.) 

VAL-CHR£TIEN,  Aisne.     Ahhaye.     This  ruined  church  consisted  of  a  nave 

•  Or  Pousel. 
248 


OTHER   MONUMENTS 

of  seven  bays,  two  side  aisles,  and  a  rectangular  choir.  The  timber-roofed  nave, 
whose  last  bay  was  wider  than  the  others,  was  characterized  by  arcades  of  pointed 
arches  in  two  orders  and  by  piers,  on  either  end  of  each  of  which  was  engaged  a  colon- 
nette  and  opposite  the  side  aisles  a  shaft.  The  fa9ade  of  c.  1250,  one  bay  of  the  nave, 
and  fragments  of  the  choir  still  survive.     (Lefevre-Pon talis.  Arch.  Rel.  II,  215.) 

ATHIS,  Seine-et-Oise.  Eglise.  The  tower  in  two  stories  is  characterized  by 
round  arches,  well-developed  buttresses,  chevrons,  flat  corbel-tables,  and  shafted 
windows  in  two  orders;  it  is  surmounted  by  a  beautiful  spire  with  turrets  and  dor- 
mers. The  choir  of  two  bays  dates  from  the  XIII  century.  (Baudot;  Arch,  de  la 
Com.  de  Mon.  Hist.) 

MESGE,  Somme.  Eglise  was  reconstructed  in  the  XVII  century,  but  contains 
two  interesting  portals  assigned  to  the  third  quarter  of  the  XII  century  by  M.  Enlart. 
(Enlart,  Arch.  Rom.,  144.) 

AIGNEVILLE,  Somme.  St.  Martin.  Notwithstanding  the  flamboyant  tra- 
cery of  the  windows,  the  narrow  nave  is  more  ancient  than  the  choir,  as  is  proved  by 
the  round-arched  lateral  portal.     (Darsy.) 

MENEVILLERS,  Oise.  Eglise  consists  of  a  single-aisled  nave,  a  rectangu- 
lar vaulted  choir  of  two  bays,  and  a  central  tower  supplied  with  shallow  buttresses. 
(WoiUez.) 

ELINCOURT-STE.-MARGUERITE,  Oise.  Eglise  consists  of  a  nave,  two 
side  aisles,  transepts,  a  choir,  and  an  apse.  The  southern  side  aisle  has  been 
rebuilt  and  enlarged.  In  WoiUez'  drawings  the  edifice  appears  to  be  barrel- 
vaulted  throughout;  it  is  adorned  externally  with  arched  string-courses.  (Woil- 
lez,  ap.) 

\TLLERS-ST.-SEPULCRE,  Oise.  Eglise  contains  a  window  whose  arcuated 
lintel  is  scratched  to  resemble  voussoirs,  a  transitional  portal,  a  choir  of  the  XIII 
century,  and  modern  transepts.     (Woillez,  ap.) 

PONT-REMY,  Somme.  Eglise.  This  ruined  edifice  is  of  the  flamboyant  period 
with  the  exception  of  the  wall  forming  the  gable  of  the  transept,  which  is  assigned 
to  the  end  of  the  XII  century  by  M.  Enlart.     (Enlart,  Arch.  Rom.,  154.) 

SACY-LE-GRAND,  Oise.  Eglise  of  three  aisles  contains  walls  of  herring- 
bone masonry  dating  from  the  XII  century  and  pendant  vaults  of  the  XVI  century. 
(Woillez,  ap.) 

CROUY-EN-THELLE,  Aisne.  Eglise.  The  southern  wall  of  the  rectangular 
choir  of  two  bays  has  been  somewhat  modernized.  It  is  reinforced  by  flat  buttresses. 
(WoiUez,  ap.) 

MONTRELET,  Somme.  Eglise  terminates  in  a  rectangular  choir  assigned  to 
the  last  years  of  the  XII  century.     (Enlart,  Arch.  Rom..,  145.) 

ST.  PAUL,  Oise.  Abbaye.  A  transitional  portal  and  a  few  capitals  are  aU 
that  remains  of  this  edifice. 

Eglise  is  said  to  be  in  part  of  the  XII  century. 

BECQUIGNY,  Somme.  Eglise.  Only  the  lower  part  of  the  western  fa9ade 
and  a  portal  assigned  to  1140-65  by  M.  Enlart  survive,  but  this  debris  is  sufficient  to 
prove  that  the  church  had  a  single-aisled  nave.     (Enlart,  Arch.  Rom.,  71.) 

249 


TRANSITIONAL   MONUMENTS 

FROCOURT,  Oise.  Eglise  is  of  interest  for  its  tower  and  its  remarkable  cap- 
itals.    (Woillez,  ap.)  "" 

BREUIL-LE-SEC,  Oise.  Eglise  was  destroyed  by  fire  in  1798.  The  substruc- 
tions of  the  facade  and  of  the  lateral  walls  —  the  southern  one  of  which  has  been 
many  times  rebuilt  —  survive.     (Woillez.) 

ST.-GERVAIS-DE-PONTPOINT,  Oise.  Eglise  is  of  interest  for  its  portal 
and  tower.  The  former  is  ornamented  with  a  quadruple  chevron  and  an  arched  string- 
course; the  latter  is  in  three  stories  and  crowned  by  a  pyramidal  stone  roof.  (Woil- 
lez, ap.) 

FONTENAY-TORCY,  Oise.  Eglise  is  ornamented  externally  with  a  double 
blind  arcade,  enriched  by  chevrons  and  billet  mouldings.     (Woillez,  ap.) 

COMPIEGNE,  Oise.  Eglise  des  Minimes.  This  desecrated  edifice,  now 
used  as  a  gymnasium,  is  said  to  contain  some  remains  of  XII  century  archi- 
tecture. 

LEGLANTIERS,  Oise.  Ckapelle  dite  du  St.-Sauveur-dans-le-Cimetiere  is  a 
rectangular  wooden-roofed  chapel  adorned  with  arched  string-courses. 

QUESMY,  (near  Noyon),  Oise.  Eglise  is  said  to  date  from  the  middle  of  the 
XII  century. 

NOINTEL,  Oise.  Eglise  of  a  single  aisle  is  ornamented  with  arcuated  string- 
courses, and  contains  a  very  rich  western  portal.     (Woillez,  ap.) 

ROCQUENCOURT,  Oise.  Eglise  possesses  a  very  simple  portal,  attributed 
to  c.  IIGO  by  M.  Enlart.     (Enlart.  Arch.  Rom.,  156.) 

SACY-LE -PETIT,  Oise.  Eglise.  The  interior  is  of  interest  for  the  capitals, 
which  are  continued  as  string-courses  and  sculptured  with  figures  in  profile,  — •  an 
exceptional  arrangement.     (Woillez.) 

ESCHES,  Oise.  Eglise.  The  only  remains  of  the  rectangular  choir  are  two 
engaged  columns,  which  doubtless  once  divided  it  into  two  bays.     (Woillez.) 

ST.  ARNOULT,  Oise.  Ckapelle.  This  much  modernized  and  abandoned  edi- 
fice consists  of  a  single-aisled  nave  and  a  polygonal  apse,  ornamented  externally  with 
an  arched  string-course.     (Woillez,  ap.) 

ROSOY,  Oise.  Eglise.  The  interesting  tower  is  ornamented  with  arched  string- 
courses.    (Woillez.) 

RICQUEBOURG,  Oise.  Eglise.  The  existing  edifice  with  its  polygonal  apse 
is  almost  entirely  of  the  XVI  century,  but  certain  fragments  of  transitional  architec- 
ture that  survive  in  the  nave  show  that  this  portion  of  the  monument  was  barrel-vaulted 
in  the  XII  century.     (Woillez,  ap.) 

PROULEROY,  Oise.  Eglise.  The  ancient  tower,  which  now  stands  isolated 
before  the  modern  church,  is  decorated  with  arched  corbel-tables.     (Woillez,  ap.) 

TIVERNY,  Oise.  Eglise  possesses  a  portal  in  three  orders  ornamented  with 
che\Tons,  etc.     (Woillez,  ap.) 

BRENOUILLE,  Oise.  Eglise.  The  choir  is  of  the  XIV  century,  the  nave 
of  the  XII  century.     (WoiUez.) 

FALVY',  Somme.  Eglise,  said  to  be  in  part  of  the  transitional  epoch,  possesses 
a  fine  chapel  of  the  XVI  century. 

250 


OTHER   MONUMENTS 

BONNIERES,  Oise.  Eglise  is  characterized  by  a  very  crude  nave  and  a  much 
modernized  facade.     (Woillez.) 

HOMBLEUX,  Somme.  Sglise,  said  to  date  from  the  transitional  period,  was 
much  altered  in  1661. 

ROUSSELOY,  Oise.  Eglise.  The  capitals  are  ornamented  with  sculptures 
of  birds.     (^Yoillez,  ap.) 

ROZOY-EN-BRIE,  Seine-et-Marne.  Eglise  is  mentioned  by  M.  St.  Paul  as 
contemporary  with  St.  Denis. 

ST.-AUBIN-SOUS-ERQUERY,  Oise.  Eglise.  The  portal  of  the  fa9ade  and 
the  north  wall  of  the  nave  are  of  the  XII  century.     (Woillez,  ap.) 

CERISY-BULUX,  Somme.  Eglise  is  said  to  be  in  large  part  of  the  tran- 
sitional epoch. 

ROYE-SUR-MATZ,  Oise.     Eglise  is  said  to  be  largely  of  the  XII  century. 

ST.  FELIX,  Oise.     Eglise  is  said  to  be  of  the  XII,  XIV,  and  XVI  centuries. 

MEZY-]\IOULIN,  Aisne.  Eglise  is  said  to  be  of  the  XII  century.  (Guide 
Joanne.) 

ERQUIN^TLLERS,  Oise.  Eglise.  The  facade  is  surmounted  by  a  slate 
belfry.     (Woillez,  ap.) 

MEL'LAX,  Seine-et-Oise.  St.  Nicolas.  The  ruins  of  this  church  are  said  to 
date  from  c.  1150. 

ST.-jrST-EN-CHAUSSEE,  Oise.     Eglise  is  almost  entirely  modern. 

Other  transitional  monuments  may  be  found  in  the  departement  of  Oise,  at 
BAZAXCOURT,  CRILLON,  ESPAUBOURG,  ESSUILES,  ETOUY,  FRESNOY- 
EN-THELLE,  GUIGNECOURT,  JAUX,  LE  MEUX,  MONCEAUX,  MON- 
TIERS,  MOYENNEVILLE,  NEUFVY-SUR-ARONDE,  REjNIERANGLES, 
ST.-MARTIN-LE-NOEUD,  ST.-PIERRE-ES-CHAMPS,  ST.-QUENTIN- 
DES-PRES,  ST.  RIMAULT,  THURY,  TROISSEREUX,  VELENNES,  WAC- 
QUEMOULIN,  and  WARLUIS. 


251 


CHAPTER  IX 

THE  CULMINATION.   GOTHIC  ARCHITECTURE  OF  THE  NORTH  OF 
FRANCE,  C.  1180-C.  1375 

"When  the  house  of  God,  many-colored  as  the  radiance 
of  precious  stones  called  me  from  the  cares  of  this  world,  then 
holy  meditation  led  my  mind  to  thoughts  of  piety,  exalting  my 
soul  from  the  material  to  the  immaterial,  and  I  seemed  to  find 
myself,  as  it  were,  in  some  strange  part  of  the  universe,  which 
was  neither  wholly  of  the  baseness  of  the  earth,  nor  wholly  of 
the  serenity  of  Heaven,  but  by  the  Grace  of  God  I  seemed 
lifted  in  a  mystic  manner  from  this  lower,  toward  that  upper, 
sphere.  And  I  was  accustomed  to  ask  travelers  returning  from 
Jerusalem,  those  who  had  seen  the  riches  of  Constantinople 
and  the  splendors  of  Hagia  Sophia,  whether  these  marvels  sur- 
passed St.  Denis."  ' 

These  words  of  Suger,  written  in  the  middle  of  the  XII  cen- 
tury, when  Gothic  architecture  had  not  yet  emerged  from  the 
mists  of  the  early  morning  twilight,  express  more  happily  the 
peculiar  qualities  of  this  art,  than  any  modern  criticism  that 
has  ever  been  spoken.  Videor  videre  me  quasi  sub  aliqua  extranea 
orhis  terrarum  plaga,  quae  nee  tota  sit  iti  terrarum  faece.  In  all 
the  long  centuries  that  have  rolled  by  since  the  days  of  Suger, 
who  has  ever  stood  beneath  the  soaring  vaults  of  a  Gothic 
cathedral,  without,  however  unconsciously,  repeating  to  him- 
self this  time-worn  but  ever  new  thought  of  the  abbot  of  St. 

'  Unde,  cum  ex  dilectione  decoris  domus  Dei  aliquando  multi-color  gemmarum  specio- 
sitas  ab  exintrinsecis  me  curis  devocaret,  sanctarum  etiam  diversitatem  \'irtutum,  de  materialibus 
ad  immaterialia  transferendo,  honesta  meditatio  insistere  persuaderet,  \-ideor  videre  me  quasi 
sub  aliqua  extranea  orbis  terrarum  plaga,  quae  nee  tota  sit  in  terrarum  faece,  nee  tota  in  coeli 
puritate  demorari,  ab  hac  etiam  interiori  ad  illam  superiorem  anagogico  more  Deo  donante  posse 
transferri.  Conferre  consuevi  cum  HierosoljTnitanis  et  gratantissime  addiscere,  quibus  Con- 
stantinopolitanae  patuerant  gazae  et  Sanctae  Sophiae  oniamenta,  utrum  ad  comparationem 
illorum  haec  aHquid  valere  deberent.     (Sugeri,  De  Re.  in  Sua  Adm.  Gest.  XXXIII.) 

252 


III.  217.  —  Chapel  of^the  Baptismal  Founts  at  Laon 


i,{3  S 


ixJ  e£.^««»@>9     ^^^-  - 


It    Ma   J.^^  ^^j; 


1  -J-^LTri 


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■m. 


ESTHETIC   QUALITIES 

Denis  ?  It  is  this  peculiar  quality  which  for  lack  of  a  better 
term  we  may  call  emotional  power,  that  separates  Gothic  from 
all  other  architectures  and  raises  it  to  the  supreme  height.  The 
Parthenon  is  more  faultless  in  taste,  more  harmonious  in  en- 
semble, more  perfect  in  technique;  Hagia  Sophia  is  as  vast  in 
dimension  and  as  warm  in  color.  But  the  Gothic  cathedral  alone 
possesses  the  power  to  lift  the  mind  entirely  from  the  cares 
and  thoughts  of  the  world,  de  materialibus  ad  immaterialia 
transferendo,  the  power  to  call  forth  within  the  soul  a  more  than 
mortal  joy,  until  for  the  moment  the  material  world  is  forgotten, 
and  the  mind  is  carried  captive  to  that  strange  shore  of  the  uni- 
verse which  is  more  of  the  mould  of  Heaven  than  of  Earth. 

This  esthetic  emotion,  so  intangible,  yet  so  compelling,  has 
often  been  confused  with  religious  impulse,  and  no  doubt  the 
two  moods  are  closely  associated,  since  the  former  often  calls 
into  being  the  latter.  It  is  for  this  reason  that  Gothic  archi- 
tecture has  always  been  recognized  as  preeminently  suitable 
for  ecclesiastical  buildings.  No  art  could  better  express  the 
emotions,  the  aspirations  of  the  Christian  religion.  But  it  is 
a  mistake  to  think  of  Gothic  architecture  as  an  exclusively  Chris- 
tian art;  for  it  rises  above  the  narrow  limits  of  the  Christian 
cult  into  that  universal  supreme  religion  to  which  attain  only 
the  greatest  revelations  of  human  genius;  a  religion  made  famil- 
iar to  us  by  the  Iliad  of  Homer,  by  the  Madonnas  of  Raphael, 
by  the  Ninth  Symphony  of  Beethoven  —  most  of  all  by  Nature, 
the  supreme  artist.  The  same  work  of  art  naturally  exercises 
this  emotional  quality  in  different  degrees  for  different  persons, 
according  to  their  culture  and  natural  susceptibilities.  Gothic 
architecture,  however,  to  judge  from  the  numerous  writers 
who  have  recorded  their  impressions,  more  than  music  or  sculp- 
ture or  painting,  seems  to  possess  the  happy  faculty  not  only  of 
overwhelming  at  the  first  impression  even  the  most  indifferent, 
but  of  offering  the  connoisseur  a  delight  which  increasing  famil- 
iarity serves  only  to  deepen.  Age  cannot  wither  nor  custom 
stale  the  infinite  variety  of  this  exquisite  art,  so  eternally  fresh. 

Yet  for  all  its  perfections,  Gothic  architecture  is  one  of  the 
most  imperfect  of  all  arts.  It  never  achieved  the  possibilities 
which  seemed  to  lie  so  near  at  hand.     There  is  no  Gothic  Par- 

253 


GOTHIC  ARCHITECTURE 

thenon  which  combines  all  the  beauties  of  the  style.  The  old 
proverb  which  sighs  for  the  combination  of  the  nave  of  Amiens, 
the  choir  of  Beauvais,  the  facade  of  Reims,  and  the  spires  of 
Chartres  is  a  popular  recognition  of  the  failure  of  Gothic  art. 
If  it  be  true  that  none  of  the  great  Gothic  cathedrals  is  without 
its  own  particular  perfections  and  its  own  individual  charm,  it 
is  none  the  less  certain  that  there  is  none  which  might  not  easily, 
obviously,  have  been  improved  by  the  adoption  of  some  feature 
of  another.  Thus  Gothic  architecture  seems  always  to  stop 
just  short  of  the  ideal. 

Similarly  no  important  Gothic  church  has  ever  been  fin- 
ished exactly  as  designed.  The  sublime  aspiration  of  the  XIII 
century,  ignoring  the  limitations  of  time  and  space,  began  edi- 
fices too  ambitious  for  one  generation  to  carry  to  completion; 
succeeding  centuries  pursued  the  work  in  a  half-hearted  manner, 
changing  the  original  design,  and  always  ended  by  leaving  the 
building  unfinished.  Almost  every  French  cathedral  was  in- 
tended to  have  seven  towers  all  crowned  with  spires;  the  cathe- 
dral of  Laon  which  comes  nearest  to  realizing  this  conception 
has  to-day  five  towers,  but  only  one  spire  was  ever  executed,  and 
that  was  destroyed  in  the  Revolution.  Of  the  other  cathedrals 
hardly  a  single  one  has  ever  completed  more  than  the  two  west- 
ern towers,  while  spires  are  a  veritable  rarity  in  the  He  de  France. 
Even  the  naves,  in  a  majority  of  cases,  have  been  finished  only 
at  a  late  date  and  in  a  debased  style.  Not  content  with  leaving 
unaccomplished  the  grand  designs  of  the  XIII  century,  later 
ages  have  not  hesitated  actually  to  mutilate  the  Gothic  master- 
pieces: chapels  have  often  been  built  between  the  buttresses  of 
the  nave,  as  at  Paris,  giving  the  outside  walls  an  unsightly  flat- 
ness; the  "superior"  taste  of  the  Renaissance  has  disfigured 
the  walls  and  piers  of  Chartres,  Chalons-sur-Marne,  and  many 
another  Gothic  church  with  plaster  coatings  of  the  worst  imag- 
inable style;  the  vandalism  of  the  Wars  of  Religion  and  of  the 
Revolution  has  destroyed  the  priceless  sculptures,  and  —  most 
irreparable  loss  of  all  —  the  stained  glass  of  the  windows ;  and 
finally  it  was  I'eserved  for  the  restorers  of  the  XIX  century 
under  the  valiant  leadership  of  Viollet-le-Duc  to  destroy  much 
that  time  and  iconoclast  had  spared.     So  the  Gothic  cathedral 

254 


^_ 


11"  ^H  i  I. 


L 


III.  i219.  —  Clearstory  of  Amiens 


GOTHIC   DESIGN 

remains  to  us,  incomplete,  fragmentary,  ruined;  a  broken  torso 
of  a  statue  unfinished  by  the  master,  and  only  half  completed 
by  weaker  hands.  And  yet,  far  as  it  falls  shoi't  of  its  possibil- 
ities, its  mutilated  fragments,  like  the  shattered  marbles  of 
ancient  Greece,  still  remain  supreme,  unapproachable. 

The  Gothic  builders  of  the  best  period  seem  to  have  been 
physically  unable  to  do  anything  in  bad  taste.  It  is  little  short 
of  miraculous  that  in  so  short  a  time  such  a  number  of  build- 
ings could  have  been  erected,  every  one  of  which,  in  greater  or 
less  degree,  was  a  work  of  originality  and  genius,  a  work  whose 
equal  has  scarcely  since  been  created.  That  the  master  builders 
of  the  great  cathedrals  should  all  have  been  men  of  the  highest 
ability  is,  indeed,  surprising  enough;  but  the  wonder  does  not 
stop  here,  for  the  designs  of  even  the  smallest  parish  churches 
display  an  originality,  a  feeling  for  beauty  that  places  their 
builders  at  once  in  the  front  rank  of  creative  artists.  Good 
taste  rules  everywhere;  never  is  anything  done  to  offend;  and 
better  still,  even  the  humblest  monuments  show  something  posi- 
tive, a  creative  genius.  Such  fertility  and  high  average  qual- 
ity marked,  though  to  a  much  less  extent,  the  sculpture  of  the 
V  century  in  Greece,  the  painting  of  the  Renaissance  in  Italy, 
the  drama  of  the  Elizabethan  era  in  England,  and,  in  fact,  have 
characterized  the  culmination  of  most  of  the  great  art  periods 
in  the  world's  historj^;  but  hardly  any  other  art  has  ever  been 
at  once  so  prolific  and  so  excellent  as  Gothic  architecture. 

The  generally  high  standard  of  even  the  less  pretentious 
Gothic  buildings  is  probably  due  largely  to  the  strongly  rooted 
tradition  of  the  style.  The  Gothic  alphabet  was  infinitely  rich 
and  varied  — -  much  more  so  than,  for  example,  that  of  Roman 
or  Renaissance  architecture;  moreover  it  was  constantly  grow- 
ing and  developing.  But,  for  all  that,  it  was  a  rigid  alphabet, 
to  whose  laws  the  builders  unflinchingly  conformed.  If  its 
multiple  letters  could  be  combined  in  countless  permutations 
and  offered  endless  opportunity  for  invention  and  originality, 
new  letters  of  doubtful  propriety  were  not  admitted  until  their 
value  had  been  thoroughly  demonstrated.  Capricious  designs 
were  not  tolerated.  The  builders,  especially  the  minor  builders, 
tended  rather  to  cling  to  the  established  forms  of  self-evident 

255 


GOTHIC   ARCHITECTURE 

beauty  and  propriety,  while  being  ever  ready  to  discard  them 
for  new,  as  soon  as  the  superiority  of  the  latter  should  be  proved. 
The  Gothic  artist  was  thus  conservative  without  being  slavish 
or  unprogressive. 


The  culmination  of  Gothic  architecture  may  fairly  be  said 
to  have  been  reached  in  the  year  1220,  when  the  nave  of  Amiens 
was  begun.  It  is  true  that  each  line  of  progress  had  its  own 
separate  history  and  attained  its  highest  development  at  a  differ- 
ent time.  Stained  glass,  for  example,  reached  its  acme  long 
before  1220,  while  the  design  of  the  Gothic  fa9ade  was  perfected 
only  long  afterwards.  Moreover,  what  it  is  convenient  to  call 
the  culminating  point  is  a  matter  of  taste  and  arbitrary  judgment, 
for  Gothic  art  never  stood  still  or  went  backwards;  it  merely 
advanced  too  far.  It  is,  therefore,  necessary  to  speak  only  in 
very  general  terms.  But  it  is  convenient  as  well  as  conventional 
to  take  the  years  1220-50  as  representing  the  high-water  mark 
of  Gothic  architecture. 

Now  it  was  at  precisely  this  moment  that  the  power  of  the 
papacy  reached  its  point  of  greatest  expansion;  that  Rome  most 
completely  dominated  the  Church  and  the  Church  most  com- 
pletely dominated  the  French  nation.  In  1220,  the  phrase 
"liberties  of  the  Galilean  Church,"  later  destined  to  swell  into 
so  powerful  a  chorus,  was  still  unwhispered.  If  Philippe- 
Auguste  (1180-1223)  with  cynical  diplomacy  made  the  Church 
an  instrument  to  serve  his  own  political  ends,  he  none  the  less 
found  in  her  the  chief  support  of  his  throne,  and  sustained  the 
See  of  St.  Peter  against  even  his  own  bourgeois.  St.  Louis 
(1226-70),  while  by  no  means  the  passive  tool  of  the  Church 
which  he  has  been  pictured,  was  none  the  less  the  most  pious 
of  monarchs.  In  short  the  power  of  the  clergy,  founded  on  the 
universal  piety  of  perhaps  the  most  devout  age  the  world  has 
ever  seen,  seemed  without  bounds;  there  appeared  to  be  no 
lengths  to  which  the  religious  conscience  of  the  time  was  not 
prepared  to  go. 

But  in  the  very  moment  of  the  triumph  of  the  Church  its 
fall  was  being  prepared.     Signs  of  decadence  which  had  faintly 

256 


III.  2iO.  —  St.  Urbain  of  Troyes,  from  the  Southeast 


SPREAD    OF   HERESY 

appeared  even  as  early  as  the  reign  of  Philippe-Auguste  multi- 
plied in  the  age  of  Louis  IX.  If  the  XIII  century  preserved 
outwardly  the  religious  character  of  the  XII  century,  deep 
down  below  this  serene  surface  was  an  ever-strengthening 
undercurrent  of  XIV  century  skepticism.  Although  the  age  of 
Philippe-Auguste  was  still  preeminently  an  age  of  faith,  the 
spirit  of  opposition  to  the  Church  had  been  born ;  it  was  waxing 
strong  in  the  cradles  of  heresy  and  free  thought;  it  was  being 
nourished  by  the  hatred  which  the  bourgeois  and  the  noble 
cherished  against  the  clergy;  and  it  was  even  becoming  power- 
ful enough  to  inspire,  to  a  certain  extent,  the  policy  of  an  abso- 
lute king. 

The  most  tangible  sign  of  the  altered  spirit  of  the  times  was 
the  constant  spread  of  heresy.  While  the  great  Albigensian 
schism  was  being  suppressed,  more  covert,  but  none  the  less 
dangerous  sects  were  germinating  at  Arras  (1183),  Troyes 
(1200),  Charite-sur-Loire  (1202),  and  Braine  (1204);  the  "  spir- 
ituels  "  —  mystics  who  believed  in  the  coming  of  the  reign  of  the 
Holy  Spirit  and  denounced  the  Church  —  increased  in  num- 
bers throughout  the  Midi.  This  sect,  which  originated  in  Spain 
in  the  first  half  of  the  XIII  century,  flourished  in  the  face  of 
persecutions,  and  it  was  largely  to  fight  this  heresy  that,  in  the 
reign  of  St.  Louis,  the  Inquisition  was  established  in  France. 
Under  the  leadership  of  Amauri  de  Chartres  the  University  of 
Paris,  one  of  the  very  strongholds  of  papal  power,  became 
tainted  with  heretical  doctrines  (1210).  Only  a  small  minor- 
ity of  bold  spirits,  however,  dared  attack  religion  to  its  face; 
the  vast  majority  of  unbelievers  struck  indirectly  through  blows 
aimed  at  the  clergy.  Thus  war  against  the  Church,  her  priv- 
ileges, and  her  power,  was  begun  as  early  as  the  first  half  of  the 
XIII  century,  and  continued  to  be  waged,  now  openly,  now 
secretly,  but  with  ever-increasing  bitterness  and  violence  as  time 
went  on. 

Of  all  the  causes  undermining  the  power  of  the  Church 
none  was  more  powerful  than  the  revived  study  of  Aristotle. 
Certain  works  of  this  master,  which  had  been  discovered  in 
Spain  in  1200,  were  translated  into  Latin,  and  studied  by  the 
XIII   century  with  a  passion  recalling  that  of  the   humanists 

257 


GOTHIC   AECHITECTURE 

of  the  Renaissance.  In  yain  the  papacy  put  these  dangei'ous 
works  on  the  interdict  in  1210  and  again  in  1215;  the  tide  was 
too  strong  to  be  stemmed;  men  had  ah-eady  learned  from  the 
Greek  philosopher  to  assume  a  skeptical  attitude,  to  resort  to 
reason  rather  than  to  faith.  It  is  necessary  only  to  compare 
Roger  Bacon  with  iVbelard,  Pierre  de  Maricourt  with  St.  Ber- 
nard, to  perceive  how  completely  the  experimental,  inductive 
spirit  of  the  XIII  century  had  triumphed  over  the  dogmatic 
scholasticism  of  the  preceding  age.  Thorough  Aristotleans 
were  the  great  minds  of  the  XIII  century,  especially  of  its  last 
half  —  witness  Alexandre  de  Hale,  Albert  le  Grand,  Thomas 
Aquinas.  The  idealism,  the  artificial  literature,  the  mysticism 
of  the  XII  century  passed  away  before  the  rise  of  the  new  scien- 
tific spirit. 

"In  the  schools  of  the  XII  century  there  was  a  renaissance 
of  letters  not  without  analogy  to  the  more  celebrated  movement, 
the  Renaissance  properly  so-called.  The  majority  of  men  who 
wrote  in  Latin  were  litterateurs,  humanists,  rhetoricians,  laden 
with  the  spoils  of  antiquity;  even  those  who,  like  Abelard  and 
Gilbert  de  la  Poiree,  treated  abstruse  questions,  prided  them- 
selves upon  writing  in  good  style.  In  the  vernacular,  on  the 
other  hand,  flourished  the  chanson,  and  the  roman  courtois  — 
all  the  literature  of  chivalry,  worldly,  agreeable,  polished,  with- 
out depth  or  sincerity. 

"A  hundred  years  after  St.  Bernard  and  Chretien  de  Troyes, 
is  the  time  of  St.  Thomas  and  Jean  de  Menu;  all  is  changed. 
And  it  is  difficult  to  imagine  a  more  complete  contrast.  Hence- 
forward among  the  clergy  there  are  no  more  polished  orators 
or  poets,  no  more  makers  of  Latin  verses,  such  as  had  been 
Gautier  de  Chatillon  or  Hildebert  de  Lavardin  whose  works 
are  such  literal  imitations  of  the  classics  that  they  have  been 
mistaken  for  ancient  fragments.  Seek  a  poet,  you  will  find 
him  not;  the  hexameter  and  pentameter  are  forgotten;  short 
lyrics,  now  pious,  now  obscene,  are  the  only  metrical  composi- 
tions that  this  age  produced.  Theologians  and  philosophers 
discuss  new  problems  and  speak  a  new  technical  jargon  that 
their  predecessors  of  a  century  before  would  hardly  have  under- 
stood.    Finally   in   the    secular   world    chivalry   has   played   its 

258 


O 


u 


DECLINE   OF   THE   CHURCH 

time;  the  idealistic  conceptions  of  the  preceding  century  are  no 
longer  taken  seriously,  or  are  even  ridiculed. 

"The  XII  century  had  seemed  to  despair  of  reason;  never 
had  mystics,  scorners  of  science  and  scientific  inquiry,  been  more 
numerous  than  when  the  theological  school  of  the  monastery 
of  St.  Victor  of  Paris  was  in  its  glory.  The  XIII  century,  on 
the  other  hand,  was  the  most  passionately  intellectual  epoch  of 
the  Middle  Ages;  it  trusted  above  all  to  reason;  it  tried  to  know; 
it  wished  to  prove  everything."  ' 

While  thus  the  power  of  the  church  was  being  undermined 
from  within,  its  enemies  did  not  cease  to  attack  it  from  with- 
out. In  1246-47  there  was  formed  throughout  France  a  great 
anti-clerical  league  of  the  nobles,  which  was  in  many  places 
joined  by  the  bourgeois  and  peasants.  In  1248  when  St.  Louis 
was  in  danger  in  the  crusade  in  Egypt  a  great  wave  of  anger 
against  the  Church  swept  over  France.  In  those  days,  says 
Salimbene,  the  French  uttered  blasphemy;  when  the  Domin- 
icans or  Franciscans  asked  alms  the  people  laughed  in  their 
faces  and  gave  to  other  poor  in  their  presence.  A  great  army 
of  60,000  enemies  of  the  church  banded  themselves  together 
under  the  leadership  of  the  "Master  of  Hungry,"  and  pushed 
on  to  Paris,  where  they  were  well  received  by  the  populace. 
When  this  army  arrived,  so  great  was  the  popular  fury  against 
the  clergy  that  a  great  number  of  priests  were  killed,  wounded, 
or  thrown  into  the  river.  One  prelate  who  was  celebrating 
mass  was  stripped  of  his  vestments  and  derisively  crowned  with 
roses. ^ 

The  bitter  quarrel  of  the  papacy  with  the  University  of  Paris 
in  the  second  half  of  the  XIII  century  was  very  influential  in 
discrediting  Rome  with  the  national  French  Church.  From 
1250  to  1290  the  University  "learned  to  distinguish  the  dictates 
of  Italy  from  those  of  religion."  Thus  the  great  majority  of 
the  members  of  the  University  embraced  the  cause  of  Philippe- 
le-Bel  against  Boniface  in  the  great  crisis  of  ISOS.'' 

The  crusades  of  St.  Louis  (1248  and  1266)  were  sorry  affairs 
foredoomed  to  failure  and  pushed  through  by  the  king  against 

1  La\'isse,  Hist,  de  France  111=,  387.  -  La\'isse,  op.  dt.  III,^  80. 

2  Ihid.,  385. 

259 


GOTHIC   ARCHITECTURE 

the  will  of  liis  people  and  even  against  the  will  of  the  pope.  No 
more  complete  contrast  can  be  imagined  than  that  presented 
by  these  forced  expeditions  with  the  spontaneous  enthusiasm 
of  1099.  The  XIII  century  saw  the  last  traces  of  Christian 
domination  in  the  Holy  Land  fade  away. 

But  the  most  crushing  blow  of  all  inflicted  upon  the  French 
Church  was  the  levying  of  taxes.  Philippe-Auguste  as  early  as 
1189  had  tried  to  tax  the  Church  to  ten  per  cent  of  its  revenues; 
the  attempt  did  not  succeed  immediately,  but  in  1215  and  1218 
the  tax  was  established.  The  era  of  ecclesiastical  "decimes  " 
had  opened,  and  the  way  had  been  prepared  for  the  crushing 
burden  destined  to  be  imposed  upon  the  clergy  by  the  successors 
of  Louis  IX.  A  little  later  the  popes  also  began  to  demand 
the  right  to  tax  the  clergy  and  even  to  call  on  the  bishops  for 
soldiers.  Between  these  two  mill-stones  the  French  Church 
knew  not  which  way  to  turn.  It  appealed  to  the  pope  against 
the  king,  and  to  the  king  against  the  pope.  These  two  powers 
met  the  situation  by  entering  into  an  agreement  each  to  aid  the 
other  in  levying  the  taxes  claimed.  ^Yith  its  two  persecutors 
thus  in  accord  the  Church  could  do  little  but  meet  as  best  it 
could  the  enormous  drain  imposed  upon  its  resources.  By  the 
end  of  the  reign  of  Louis  IX  (1270),  the  great  majority  of  cathe- 
drals and  abbeys  were  heavily  in  debt;  for  since  the  normal 
resources  were  insufficient  to  pay  the  taxes,  loans  had  to  be 
contracted  from  the  Lombard  bankers  at  exorbitant  rates  of 
interest;  and  these  loans  could  be  liquidated  only  by  fresh  bor- 
rowing. Thus  the  finances  of  the  French  Church  rapidly  went 
from  bad  to  worse  —  a  fact  which  largely  explains  the  great 
relaxation  of  building  activity  that  occurred  at  precisely  this 
moment. 

Meanwhile  corruption  was  progressing  apace  within  the 
Church.  By  the  opening  of  the  XIV  century  all  the  effects  of 
the  XII  century  reform  had  disappeared,  and  the  regular  and 
secular  clergy  had  alike  fallen  into  decadence.  The  accumula- 
tion of  benefices,  immorality,  and  simony  reigned  unchecked. 
In  certain  places  the  clerks  were  even  considered  as  baser  than 
Jews.  The  many  ignorant  and  immoral  persons  who  had  been 
allowed  to  become  priests,  inspired  the  people  with  scorn  for 

260 


III.  222.  —  Fa9ade  of  Laou 


ANAGNI 

the  sacraments.  Excommunications  were  so  mucli  abused 
that  the  power  of  the  keys  was  openly  ridiculed.  Scandalous 
and  blasphemous  charges  were  constantly  brought  against 
the  Church  and  its  ministers.  Throughout  the  length  and 
breadth  of  France  Sunday  was  no  longer  observed;  instead  of 
going  to  church,  the  people  attended  fairs,  held  law  courts, 
bought,  sold,  and  transacted  business.  The  churches  were  empty, 
while  the  places  of  business  and  the  taverns  were  crowded.'  In 
the  fabliaux  of  the  period,  the  priest  is  always  pictured  as  a 
glutton  who  passes  his  time  pleasantly  in  the  handsomest  house 
of  the  village,  in  company  with  the  "priestess,"  his  mistress. 

All  the  fat  benefices  were  filled  by  the  pope  with  foreigners, 
often  of  the  loosest  morals.  Guillaume  le  Maire  states  that  of 
thirty-five  prebends  which  had  become  vacant  in  a  certain 
cathedral  in  the  course  of  twenty  years,  the  bishop  had  filled 
only  two,  all  the  others  being  disposed  of  by  the  pope  and  the 
cardinals.  The  bishop  was  hence  unable  to  reward  the  deserv- 
ing clerks  of  his  diocese  on  their  return  from  the  universities; 
these  rejected  clerks,  poor  and  discouraged  at  the  uselessness 
of  the  sacrifices  they  had  undertaken  for  love  of  knowledge, 
married  or  entered  the  service  of  princes,  and  often  became  the 
enemies  who  attacked  most  bitterly  ecclesiastical  liberties. 
Instead  of  these  deserving  native  clerks  were  appointed  Italians 
who  for  the  most  part  did  not  reside  and  who  received  the 
revenues  of  churches  whose  crucifix  they  had  never  even  seen.^ 

Thus  before  Anagni,  the  power  of  the  French  Church  had 
been  broken  largely  by  the  papacy  itself,  and  when,  under 
Philippe-le-Bel,  the  pope  had  occasion  to  call  upon  the  French 
clergy  to  assert  their  independence,  there  was  no  response. 
The  Gallic  Church  dared  not  raise  her  voice  to  blame  the  sac- 
rilege of  Guillaume  de  Nogaret;  she  abandoned  Boniface  who 
had  tried  to  defend  her  against  royal  rapaciousness ;  she  deliv- 
ered up  the  Templars  (1307),  and  even  made  herself  the  instru- 
ment of  their  punishment.  In  a  word  the  Gallic  Church  had 
become  the  docile  servant  of  the  French  king. 

The  final  and  most  crushing  blow  to  the  Church  was  deliv- 
ered at  Anagni  in  1303  —  a  blow  which  broke  forever  the  power 

1  Lavisse,  op.  cit.,  359.  =  La\-isse,  op.  cit.,  III^  361. 

261 


GOTHIC   ARCHITECTURE 

of  Rome.  The  long  Babylonian  Captivity  of  the  popes  at 
Avignon  (1308-1417)  severely  injured  the  prestige,  not  only 
of  the  papacy,  but  of  Christianity.  Simultaneously  the  last 
trace  of  that  peculiar  religious  mysticism  so  characteristic  of 
the  XII  century  passed  away  from  the  soul  of  the  French  people. 

To  its  place  succeeded  superstition.  The  chronicles  of  the 
first  half  of  the  XIV  century  throw  in  the  strongest  light  the 
brutality  and  the  hypocrisy  of  the  religious  beliefs  of  the  period. 
Whoever  stood  in  the  way  of  the  king  or  of  Guillaume  de  No- 
garet  was  accused  of  some  monstrous  crime,  —  of  making  a 
wax  image  in  the  likeness  of  the  king  to  cause  his  death,  or  of 
some  equally  preposterous  act  of  magic.  Hundreds  were  sent 
to  death  on  such  charges.  It  suffices  to  look  into  the  records 
of  the  prosecution  of  the  Templars  or  of  any  of  the  many 
celebrated  lawsuits  of  the  time  to  find  hosts  of  the  most  absurd 
accusations  of  witchcraft  and  magic.  Never  in  the  history  of 
France  were  seen  so  many  executions  for  supposed  crimes,  as 
under  the  last  Capetians.  No  more  do  we  read  of  miracles, 
of  gentle  interpositions  of  the  Virgin,  of  miraculous  cures;  the 
popular  mind  runs  to  the  black  arts,  it  delights  in  tales  of 
sorcery  and  incantations.  In  a  word,  belief  in  the  basest  and 
most  repulsive  demonology  has  supplanted  the  faith  of  the 
XII  century,  —  a  faith  that  was  blind  and  unthinking,  it  is 
true,  but  none  the  less  touching  and  poetic. 

As  time  went  on,  the  same  decadence  attacked  learning  and 
intellectual  activity.'  Theology  almost  passed  away.  The  Latin 
of  the  ecclesiastical  authors  became  worse  and  worse;  gram- 
matical errors  abound  even  in  the  documents  of  the  University 
of  Paris.  At  the  end  of  the  century,  in  the  midst  of  the  dis- 
asters of  the  Hundred  Years'  War,  Nicolas  de  Clamanges,  a 
humanist  of  much  zeal,  tried  to  bring  about  a  reform,  but  he 
belonged  to  a  small  group  of  purists,  whose  efforts  were  of  no 
avail. 

It  is  above  all  to  the  decline  of  the  Church  that  must  be 
attributed  the  peculiar  qualities  of  Gothic  architecture  of  the  so- 
called  rayonnant  period  —  a  period  that  began  about  1250  and 
entirely  passed  away  only  in  the  last  quarter  of  the  XIV  cen- 

•  See,  however,  La^isse,  op.  dt.,  IV',  393. 
262 


111.  2-23.  —  Fafade  of  Paris 


THE   HUNDRED   YE.\RS'   WAR 

tuiy.  To  the  lack  of  entliusiasm  of  the  age,  and  to  the  over- 
burdening of  the  clerical  resources  by  taxes,  was  due  that  almost 
total  cessation  of  building  activity  that  followed  the  tremendous 
energy  of  the  last  half  of  the  XII,  and  the  first  half  of  the  XIII, 
century.  To  the  new  scientific  spirit,  to  the  lack  of  idealism, 
was  due  the  naturalistic  tendencies  of  this  art,  its  somewhat 
cold  correctness;  to  the  destruction  of  the  power  of  the  Church, 
was  due  its  death. 

It  is  usually  believed  that  the  small  architectural  production 
of  the  XIV  century  is  to  be  explained  by  the  great  building 
activity  of  the  preceding  period  —  an  activity  which,  it  is  claimed, 
left  the  churches  of  France  in  such  excellent  condition  that  there 
was  no  reason  for  a  later  age  to  rebuild  them.  But  although 
it  is  true  that  new  cathedrals,  abbeys,  and  parish  churches  had 
been  begun  in  the  early  Gothic  period  everywhere  throughout 
France,  the  vast  majority  of  these  had  been  left  unfinished 
—  indeed,  notwithstanding  that  the  construction  has  been  ad- 
vanced in  the  flamboyant  period,  they  stand  to  this  day  incom- 
plete. Therefore  there  was  a  vast  quantity  of  building  which 
it  was  not  only  possible  but  needful  that  the  XIV  century  should 
carry  out.  Nevertheless  this  was  left  undone.  In  fact,  so 
absolutely  was  building  abandoned,  that  genuine  examples  of 
XIV  century  architecture  are  extremely  rare  —  a  few  isolated 
fragments  here  and  there  in  the  great  cathedrals  are  all  that 
we  have  from  which  to  form  an  idea  of  the  style  of  the  period. 

It  has  also  been  many  times  repeated  that  the  Hundred 
Years'  War  destroyed  Gothic  architecture.  While  such  a  cata- 
clysm would  doubtless  have  been  sufficient  to  stop  architec- 
tural activity,  as  a  matter  of  fact  the  energy  of  Gothic  seems  to 
have  been  quite  thoroughly  exhausted  before  the  war  began. 
Production  and  progress  had  greatly  fallen  off  by  the  opening 
years  of  the  XIV  century;  while  at  the  time  of  the  commence- 
ment of  the  war  in  1338,  and  long  before  the  great  disasters  of 
Crecy  (1346)  and  Poitiers  (1356)  had  brought  economic  ruin 
on  the  country,  architectural  art  had  passed  under  a  shadow 
as  deep  as  that  which  was  to  overtake  it  in  the  darkest  days  of 
Charles  VI. 

This  is  the  more  remarkable  in  that  the  general  conditions 

263 


GOTHIC   ARCHITECTURE 

in  France  during  the  first  half  of  the  XIV  century  were  distinctly 
such  as  would  naturally  be  assumed  to  make  for  progress  in 
the  arts.  In  the  long  peace  of  the  XIII  century  —  a  peace  ex- 
tending, except  for  unimportant  interruptions  for  a  period  of  a 
century  and  a  half,  from  the  beginning  of  the  reign  of  Philippe- 
Auguste,  to  the  end  of  that  of  Philippe-le-Bel  —  France  had 
enjoyed  a  golden  era  of  prosperity  and  economic  progress.  The 
age  of  St.  Louis  continued  to  be  sighed  for,  as  the  acme  of  hap- 
piness, by  future  generations  for  centuries  to  come.  Nor  was 
this  prosperity  essentially  marred  by  the  slight  wars  which  oc- 
curred at  the  end  of  the  XIII,  and  in  the  early  XIV,  centuries: 
—  those  of  Philippe-le-Bel  and  Edward  I  (1294-97),  of  Charles 
IV  and  Edward  II  (1324-27).  Of  more  importance  was  the 
war  with  Flanders  which  was  begun  in  1297  and  which  termi- 
nated in  the  disaster  of  Courtrai  (1302),  ominous  prelude  of 
the  great  reverses  of  the  Hundred  Years'  War;  yet  even  this 
was  not  enough  to  disturb  the  tranquil  prosperity  of  the  country. 

Doubtless  more  exliausting,  economically,  was  the  ruinous 
financial  policy  of  Philippe-le-Bel.  Forever  in  monetary  diffi- 
culties this  monarch  drained  the  clergy,  the  nobility,  and  the 
tiers  etat  by  his  continual  taxation,  squeezing  the  resources  of 
France  to  the  last  drop.  But  not  content  with  this  crushing 
taxation,  the  insatiable  avidity  of  the  king  resorted  to  more  harm- 
ful means  of  raising  funds.  The  debasement  of  the  royal  money 
begun  in  1295  reached  its  height  in  1306,  and  the  evil  example 
was  followed  by  the  succeeding  kings.  Such  a  financial  policy 
could  not  fail  to  disturb  commerce  and  overturn  business 
relations. 

Equally  disastrous  were  the  persecutions  of  the  Jews.  In 
1306  the  goods  of  these  valuable  citizens  were  confiscated,  and 
the  entire  people  exiled.  Later  certain  individuals  were  allowed 
to  come  back,,  but  they  were  again  persecuted,  together  with 
the  lepers,  in  1321.  Thus  was  destroyed  the  most  industrious 
and  prosperous  portion  of  the  community.  The  loss  was  keenly 
felt  in  the  decline  of  general  prosperity  which  followed.  A  sim- 
ilar economic  error  was  the  persecution  of  the  Lombards,  which 
among  other  grave  results  caused  the  decline  of  the  great  fairs 
of  Champagne,  still  so  flourishing  in  the  time  of  St.  Louis. 

264 


Ili    224  —  Faipade  of  Reims 


STRUCTURAL   PRINCIPLES 

Although  from  such  causes  there  was  undoubtedly  a  slight 
decrease  in  the  general  prosperity  of  the  country,  there  is  still 
no  question  that  at  the  opening  of  the  Hundred  Years'  War, 
France  was  in  an  extraordinarily  flourishing  condition.  The 
population  seems  to  have  been  more  dense  than  it  ever  subse- 
quently became  until  the  XIX  century.  Commerce  and  agri- 
culture stood  at  the  high-water  mark.  That  architecture  should 
have  declined  so  precipitately  at  such  a  time  must,  therefore, 
have  been  due  not  to  the  general  conditions  of  the  country,  but 
to  the  special  conditions  within  the  Church. 

If,  however,  the  Hundred  Years'  War  was  not  the  primary 
cause  of  the  death  of  Gothic  art,  there  can  be  no  question  it  at 
least  gave  the  final  couj)  de  grace.  As  early  as  Poitiers  (1356) 
the  resources  of  the  kingdom  were  nearly  exhausted;  and  dur- 
ing the  breathing  space  afforded  by  the  tenure  of  the  Treaty  of 
Calais  (1360-68)  the  utmost  efforts  of  the  monarchy  to  recoup 
resources  and  regulate  the  finances  were  unavailing.  These 
were  dark  days  for  France.  The  entire  Southwest  in  the  hands 
of  the  English;  the  nation  divided  against  itself;  Paris  in  the 
hands  of  Etienne  Marcel  (1355) ;  the  Etats-Generaux  tending 
more  and  more  to  open  revolt;  the  Jacquerie  of  1358;  the  Black 
Death  of  1348  which  carried  off  probably  a  half  of  the  total 
population;  the  country  overrun  by  "les  compagnies" — bands 
of  free-booters  and  robbers,  stronger  than  the  royal  armies, 
who  pillaged  at  will  and  absolutely  destroyed  intercommunica- 
tion;—  all  these  conditions  reduced  the  land  to  the  extreme  of 
economic  exhaustion.  Matters  brightened  somewhat  during  the 
reign  of  Charles  V  (1364-80),  although  continual  warfare  left 
no  respite  for  gathering  material  resources.  But  soon  after 
the  accession  of  Charles  VI  began  that  series  of  disasters  des- 
tined to  bring  France  to  the  lowest  point  of  her  fortunes.  In 
the  darkness  and  misery  of  this  unhappy  time  flickered  and 
went  out  the  last  glowing  ember  of  Gothic  architecture. 


Although  the  Gothic  builders,  for  the  most  part,  merely 
carried  to  their  logical  conclusion  those  structural  principles 
which  had  already  been  clearly  enunciated  in  the  transitional 

265 


GOTHIC   ARCHITECTURE 

era,  yet  after  the  year  1180  a  certain  number  of  new  construc- 
tions came  into  use,  and  many  old  ideas  were  given  a  new  sig- 
nificance. Most  important  was  the  suppression  of  the  wail 
surface.  Entranced  by  the  ravishing  effect  of  the  stained  glass 
windows,  the  builders  of  the  transition  had  already  begun  to 
enlarge  to  the  utmost  the  size  and  number  of  the  lights.  At 
St.  Remi  (111.  183)  three  lancets  had  been  grouped  together 
in  each  bay  of  the  clearstory.  Ordinarily,  however,  the  space 
beneath  the  vault  was  not  broad  enough  in  proportion  to  its 
height  to  allow  so  many  windows  to  be  happily  disposed.  On 
the  other  hand  it  was  impossible  to  occupy  the  entire  space  by 
one  window,  since  the  resulting  surface  of  glass  was  larger 
than  could  safely  be  trusted  to  resist  the  force  of  winds  and 
storms.  Consequently  two  lancets  were  usually  grouped  to- 
gether, and  above  them,  to  complete  the  composition,  was  in- 
serted a  circular  window  or  an  oculus.  A  good  example  of  a 
window  of  this  type  may  be  seen  in  the  Chapel  of  the  Baptismal 
Founts  at  Laon  (extreme  right  of  111.  217). 

That  window  tracery  was  evolved  in  this  manner,  the  numer- 
ous intermediate  examples  leave  no  doubt,  although  the  builders 
of  the  transitional  era  seem  several  times  to  have  nearly  invented 
it  without  such  a  process  of  development.  Thus  the  tympanum 
of  the  grouped  arches  of  the  triforium  of  St.  Germer  is  pierced 
(111.  173);  the  "wheel"  of  the  rose  window  of  St.  Etienne  of 
Beauvais  closely  resembles  true  tracery  (111.  213);  and  the  oculi 
of  the  original  triforium  at  Paris  had  richly  cusped  bars  of 
open  work. 

It  was  an  easy  step  to  combine  the  three  separate  openings 
of  a  window  like  that  of  Laon  into  a  single  composition,  and 
to  replace  the  original  simple  cusping  of  the  oculus  by  a  more 
elaborate  pattern.  Excellent  examples  of  windows  of  this 
type  —  known  as  windows  with  plate  tracery  —  may  be  seen 
in  the  clearstory  of  Chartres  (111.  218).  Plate  tracery,  which 
first  came  into  use  c.  1200,  always  consists  of  openings  cut  in 
a  soHd  wall,  the  pattern  thus  being  formed  of  voids,  not  of  solids; 
the  window  is  always  a  group  of  openings  of  various  decorative 
shapes,  rather  than  a  single  opening  divided  by  mullions. 

However,  the  fragments  of  wall  separating  the  lights  came 

266 


III.  i'25.  —  Rouen.     Portail  des  libraires 


^ONDOW   TRACERY 

to  be  more  and  more  reduced  until  before  the  end  of  the  first 
quarter  of  the  XIII  centuiy  they  had  become  true  muUions 
—  i.e.,  slender  reed-like  interstices  of  stone,  profiled  and  sup- 
plied with  capitals.  Tracery  formed  of  mulhons  is  known  as 
bar  tracery,  and  no  more  beautiful  examples  can  be  found  than 
in  the  clearstory  of  Amiens  (111.  219). 

Tracery  as  thus  developed  made  it  possible  to  construct 
windows  as  large  as  desired,  since  the  mullions,  by  breaking 
up  the  large  fields  of  glass,  removed  all  danger  that  these  should 
be  blown  in  by  the  force  of  the  wind.  Hence  the  Gothic  builders 
conceived  the  inspired  idea  of  omitting  altogether  the  walls, 
and  converting  the  entire  cathedral  into  a  structure  of  glass, 
merely  supported  and  held  together  by  a  stone  frame.  This 
conception,  in  addition  to  being  very  beautiful  esthetically,  was 
extremely  practical  from  a  structural  point  of  view,  for  it  light- 
ened enormously  the  dead  weight  of  the  entire  building,  and 
thus  made  possible  the  use  of  far  more  slender  supports.  The 
great  principle  of  the  suppression  of  the  wall  was  carried  to  its 
logical  conclusion  in  the  nave  of  Amiens  (111.  219). 

Bar  tracery,  however,  was  more  than  a  mere  support  for 
the  glass;  it  was  a  beautiful  thing  in  itself.  Many  of  the  most 
exquisite  decorative  forms  in  all  Gothic  art  are  to  be  found  in 
the  infinitely  varied,  but  always  beautiful,  designs  of  the  tracery. 
In  the  earlier  examples  the  pattern  is  invariably  restrained 
and  simple ;  in  the  apex  of  the  window  is  placed  a  rosette,  — 
a  reminiscence  of  the  primitive  oculus  —  and  beneath  this  are 
grouped  two,  or  sometimes  three,  lancets.'  Even  in  later  times 
this  same  general  scheme  was  usually  preserved,  but  it  was 
enriched  and  varied  by  subdi\'isions  and  embellishments  intro- 
duced within  the  great  divisions. 

Thus  by  the  middle  of  the  XIII  century  the  tracery  had  come 
to  assume  very  rich  and  complicated  patterns.  The  mullions 
had  become  so  light  and  graceful,  as  to  resemble  willow  rods 
rather  than  stone.  Particularly  gracious  examples  of  tracery 
of  this  type,  known  as  rayonnant  from  the  'radiating'  patterns 
it  assumed  in  the  rose  windows,  may  be  seen  at  St.  Urbain 
of  Troyes  (111.  220).     In  the  XIV  century  the  development  of 

1  A  lancet  is  a  pointed  light  without  subdivisions  by  mullions. 
267 


GOTHIC   ARCHITECTURE 

tracery  consisted  merely  in  extending  and  intensifying  the 
tendencies  already  manifest.  The  patterns  became  extremely 
complex,  at  times  almost  over-elaborate,  although  it  would  be 
hypercriticism  to  find  fault  with  such  wealth  of  imagination 
as  is  shown,  for  example,  in  the  design  of  the  windows  of  the 
transept  of  Le  Mans  (111.  221). 

The  tracery  of  rose  windows  developed  in  a  precisely  anal- 
ogous manner.  The  great  rose  of  the  west  fa9ade  of  Chartres 
(111.  190)  consists  of  a  central  wheel  —  quite  similar  to  that 
which  had  been  built  nearly  a  century  before  at  St.  Etienne 
of  Beauvais  (111.  213)  —  surrounded  by  a  circle  of  rosettes  in 
plate  tracery.  The  western  rose  of  Laon  (111.  222)  stands  half 
way  between  plate  and  bar  tracery,  and  the  western  rose  of 
Paris  (111.  223)  shows  true  bar  tracery  disposed  in  a  pattern 
which  already  tends  to  become  radiating.  From  such  a  design 
it  was  an  easy  step  to  the  fully  developed  rayonnant  rose  win- 
dows, such  as  those  of  the  west  fa9ade  of  Reims  (111.  224),  or 
of  the  north  transept  of  Rouen  (111.  225).  Such  compositions, 
whether  judged  from  the  exterior  as  pure  design,  or  seen  from 
within  with  all  the  added  luster  of  the  colored  glass,  must  rank 
among  the  most  lovely  and  poetical  architectural  designs  con- 
ceived by  the  INIiddle  Ages;  the  patterns,  infinitely  varied,  seem 
each  to  surpass  the  others  in  delicacy  and  beauty  of  composi- 
tion. In  no  other  feature  were  the  Gothic  builders  more  uni- 
versally successful,  and  hardly  a  rose  window  was  executed  in 
the  rayonnant  period  that  is  not  a  veritable  masterpiece.  The 
chef  d'oeuvre,  the  masterpiece  of  masterpieces,  however,  is 
assuredly  the  southern  rose  of  Paris. 

Next  to  the  development  of  tracery  and  the  consequent  sup- 
pression of  the  wall  surface,  the  most  important  advance  of  the 
early  Gothic  period  was  the  return  to  the  quadripartite  vault. 
The  advantages  of  this  system  would  seem  to  be  obvious,  but 
it  was  at  first  adopted  only  with  hesitation.  Thus  although 
a  quadripartite  vault  was  built  at  INIeaux  in  the  late  XII  cen- 
tury, a  sexpartite  vaidt  was  planned  for  Auxerre  c.  1215;  and 
at  the  same  time  that  quadripartite  vaults  were  being  built 
over  the  naves  of  St.  Remi  of  Reims  (1182-98)  and  of  Lisieux 
(about  contemporary),  the  builders  of  Paris  were  abandoning 

268 


I 


III.  226.  —  Paris.     Interior 


QUADRIPARTITE   SYSTEM 

the  quadripartite  form  planned  since  1163  in  favor  of  the  sex- 
partite  system.  However,  notwithstanding  this  vacillation  and 
uncertainty,  the  quadripartite  form  was  steadily  gaining  ground, 
and  by  c.  1200  the  use  of  sexpartite  vaults  had  become  really 
exceptional.  Thus  at  St.-Loup-de-Naud  and  at  Voulton,  alter- 
nate systems  planned  for  sexpartite  vaults  were  finally  crowned 
by  quadripartite  vaults,  —  a  curious  reversal  of  the  dispositions 
of  Paris.  In  the  end  the  sexpartite  form  fell  completely  into 
disuse,  and  so  ended  this  strange  excursion  of  the  French  builders 
into  the  architectural  forms  of  Normandy. 

Even  before  the  quadripartite  vault  had  come  into  exclu- 
sive use,  the  builders  had  ventured  to  lighten  the  construction 
sufficiently  to  make  it  possible  to  replace  all  the  compound 
piers  —  in  the  alternate  as  well  as  in  the  intermediate  supports 
—  by  monocylindrical  piers  or  columns.  This  was  done,  in  the 
first  years  of  the  Gothic  period,  at  Lisieux,  in  the  western  bays 
of  the  nave  of  Laon  (111.  248),  and  in  all  except  the  two  western- 
most bays  of  the  nave  of  Paris  (111.  226).  When  the  quadri- 
partite vault  was  adopted,  the  piers  were  logically  made  all  of 
the  same  size,  and  the  excessive  weight  which  had  formerly 
been  concentrated  on  the  alternate  piers,  making  it  difficult  to 
place  columns  in  this  position,  was  relieved. 

While  the  quadripartite  system  thus  in  one  way  facilitated 
the  construction  of  monocylindrical  piers,  in  another  way  it 
complicated  that  problem,  for  it  was  difficult  to  gather  five 
shafts  on  a  single  abacus,  as  must  be  done  when  monocylindrical 
piers  were  used  with  a  quadripartite  system  (or  in  the  alternate 
supports  of  a  sexpartite  system).  In  the  transitional  period,  as 
at  Noyon  (111.  180),  or  Senlis  (111.  181),  cylindrical  piers  had  been 
used  only  in  the  intermediate  supports  of  a  sexpartite  system, 
where  there  were  only  three  shafts  —  two  wall  shafts  and  an 
intermediate  transverse  shaft  —  to  be  provided  for.  But  when 
all  the  supports  of  a  sexpartite  system  were  made  monocylin- 
drical, the  alternate  abaci  must  support  five  shafts,  —  two  wall, 
two  diagonal,  and  one  transverse  —  and  there  were  similarly 
five  shafts  in  every  support  of  a  quadripartite  system.  To 
gather  all  these  five  shafts  on  a  single  abacus  was  extremely 
difficult.     Nevertheless  this  was  done   in  the  western  bays   of 

269 


GOTHIC   ARCHITECTURE 


the  nave  of  Laon,'  not,  iiowever,  without  producing  grave  dis- 
tortions. At  Chapelle-sur-Crecy  and  elsewhere  the  expedient 
was  adopted  of  resting  the  shafts  on  corbels  placed  just  above 
the  abaci  —  an  expedient  which  was  soon  found  to  be  neither 
logical  structurally  nor  satisfactory  to  the  eye.  A  more  hopeful 
scheme  was  tried  in  the  eastern  portions  of  the  nave  of  Laon 
(111.  227,  Fig.  1).  The  alternate  piers  were  surrounded  by  five 
free-standing  colonnettes,  four  of  which  supported  the  corners 
of  the  abacus,  while  the  fifth,  standing  in  front  of  the  column. 


D^-^Q 


III.  227.  — Diagram.     Piers  of  Laon,  Paris  (Gtli  and  7fh  bays, 
Beauvais) 

supported  a  bulge  in  the  center  of  the  abacus  which  by  this 
means  was  sufiiciently  enlarged  to  afford  footing  for  the  shafts. 
In  the  sixth  pier  of  the  nave  of  Paris,  counting  from  the  east, 
a  further  improvement  was  introduced.  The  four  colonnettes 
which  had  supported  the  angles  of  the  abacus  at  Laon  were 
omitted;  the  fifth  —  the  one  opposite  the  middle  of  the  pier  — 
instead  of  standing  free,  was  engaged  (111.  227,  Fig.  2).  Thus 
w^as  produced  a  pier  at  once  more  compact  and  more  pleasing 
esthetically,  since  the  vertical  lines  of  the  system  were  continued 
to  the  ground.     The  adjustment  of  system  and  shaft,  however, 

'  Although  these  bays  are  later  than  the  eastern  portions  described  below. 

270 


Ttt    5'29.  —  Chartres.     Interior 


III.  230.  —  Reims.     Interior 


SHAFTS 

still  remained  awkward,  for  since  these  two  sets  of  vertical  lines 
were  not  in  precisely  the  same  plane,  there  resulted  an  unpleas- 
ant set-back  at  the  capital  (111.  226).  At  Soissons  (111.  228) 
this  defect  was  largely  remedied.^ 

An  even  more  satisfactory  type  of  pier  was  invented  c.  1192  {?) 
in  the  seventh  bay  of  Paris  (111.  228,  Fig.  3).  The  colonnette 
engaged  on  the  center  of  the  principal  face  was  retained,  but 
three  other  colonnettes  were  added  symmetrically,  one  on  the 
middle  of  each  of  the  other  faces.  These  additional  colonnettes 
supported  the  archivolts  of  the  main  arcade  and  the  ribs  of  the 
aisle  vaulting.  Thus  was  evolved  the  form  of  support  used  in 
the  great  Gothic  cathedrals,  Chartres,  Reims,  Amiens. 

It  remained  for  the  builders  of  Beauvais,  however,  to  per- 
fect the  design  of  piers.  Since  the  principal  thrust  exerted 
against  the  supports  was  at  right  angles  to  the  axis  of  the  church, 
it  was  logical  to  make  the  pier  thicker  in  this  direction.  Ac- 
cordingly the  core  was  given  an  elliptical  instead  of  a  circular 
shape,  the  greater  diameter  being  thus  opposed  to  the  direction 
of  the  greatest  strain  (111.  227,  Fig.  4). 

While  by  these  gradual  stages  the  design  of  piers  was  being 
perfected,  certain  improvements  were  being  made  in  the  arrange- 
ment of  the  shafts.  To  diminish  the  bulk  of  the  load  imposed 
upon  the  abaci,  the  wall  shafts  were  often  not  carried  down  to 
the  level  of  the  main  arcade,  but  were  made  to  rest  on  the  clear- 
story or  triforium  string-course.  Thus  at  Chartres  (111.  229), 
Reims  (111.  230),  and  Beauvais  (111.  231),  only  three  shafts  rest 
on  the  abaci.  At  Amiens  (111.  219),  the  same  idea  was  carried 
even  farther;  since  the  colonnette  engaged  on  the  face  of  the  pier 
had  no  capital,  the  transverse  shaft  was  practically  carried  to 
the  ground  and  only  two  shafts  rested  on  the  abacus.  This 
system  at  Amiens  is  the  most  beautiful  of  all  that  the  medieval 
builders  invented;  there  is  no  distortion,  no  cramping,  no  strain- 
ing of  adjustment.  With  the  structural  advantages  of  slender 
supports  were  combined  the  continuous  vertical  lines,  so  essen- 
tial to  the  esthetic  effect  of  the  Gothic  church.  The  eye  is  led 
smoothly  and  irresistibly  from  the  ground  to  the  summit  of  the 
soaring  vaults. 

1  Moore,  p.  129. 
271 


GOTHIC   ARCHITECTURE 

Many  other  systems"  —  all  different  and  all  beautiful  in  their 
way  —  were  designed  in  the  course  of  the  XIII  century.  Thor- 
oughly typical  of  Normandy  is  the  system  of  Seez  (111.  232) 
where  there  is  only  a  single  shaft;  almost  as  radically  different 
from  the  typical  French  design  is  the  system  at  Bourges  (111. 
233)  —  a  system  in  which  the  contour  of  the  circular  pier  is 
carried  along  the  clearstory  wall  in  a  sort  of  bulging  core,  on 
which  are  engaged  the  slender  vaulting  shafts.  Three  of  these 
shafts  are  continuous  in  all  the  supports;  but  since  the  vault 
is  sexpartite,  on  the  alternate  piers  two  additional  shafts  are 
engaged  above  the  great  capitals.  Thus  the  Gothic  builders 
introduced  a  well-nigh  infinite  variety  into  the  designs  of  their 
systems,  and  if  they  seldom  departed  from  the  normal  type  as 
widely  as  at  Seez  or  Bourges,  they  none  the  less,  among  all  the 
buildings  of  the  XIII  century,  hai'dly  repeated  twice  exactly 
the  same  arrangement  of  shafts  and  colonnettes. 

The  type  of  pier  developed  in  the  seventh  bay  of  Paris  (111. 
227,  Fig.  2)  presented  certain  difficulties  in  the  design  of  the 
capital.  Gothic  capitals  were  proportioned  not  to  the  height, 
but  to  the  diameter  of  the  shaft.  Since,  therefore,  the  main 
core  of  the  pier  had  a  greater  diameter  than  the  engaged  colon- 
nettes, it  required  a  deeper  capital.  At  Reims  (111.  230)  the 
colonnettes  and  piers  were  given  capitals  of  the  same  depth, 
proportioned  to  the  diameter  of  the  pier,  but  a  string-course 
marked  the  normal  depth  of  a  capital  for  the  colonnettes.  More 
satisfactory  are  the  capitals  of  Chartres  (111.  229).  The  colon- 
nettes of  the  alternate  piers  of  this  cathedral  are  octagonal,  but 
the  capitals  of  all  the  piers  are  similar.  Piers  and  colonnettes  are 
given  separate  capitals  of  the  depth  normal  to  each,  the  capitals 
of  the  piers  being  thus  much  deeper  than  those  of  the  colonnettes. 
This  type  of  capital  was  repeated  in  the  cathedral  of  Beauvais 
(111.  231)  practically  unchanged,  but  at  Amiens  (111.  234)  it 
was  improved  by  omitting  altogether  the  foliage  from  the  cen- 
tral colonnette,  which  thus  became  merely  a  continuation  of  the 
transverse  shaft. 

In  the  rayonnant  period  entirely  new  tendencies  appeared  in 
the  design  of  the  systems.  The  shafts  were  made  more  and  more 
slender;  at  length  they  became  so  extenuated  that  they  could 

272 


III.  231.  —  Beauvais.     Literior 


III.  23'2.  —  System  of  Seez 


III.  233.  —  Bourges.     Interior 


I 


FLYING    BUTTRESSES 

be  continued  to  the  ground  in  the  old  Romanesque  manner 
without  giving  undue  bulk  to  the  pier.  They  were  next  given 
profiles  similar  to  those  of  the  ribs  they  supported;  and  as  shaft 
and  rib  had  now  the  same  size  and  shape,  there  was  no  need 
for  capitals  at  the  springing  of  the  vault  to  adjust  these  members. 
The  capitals  were  accordingly  greatly  reduced  in  size  and  im- 
portance, and  at  last  omitted  altogether,  so  that  the  ribs  rose 
from  the  pavement  to  the  summit  of  the  vault  without  interrup- 
tion. The  capitals  of  the  main  piers  also  tended  to  disappear. 
The  idea  of  carrying  the  shafts  of  the  system  through  these 
capitals  became  increasingly  popular  after  c.  1225,  and  by  the 
end  of  the  XIII  century  was  almost  universally  adopted.  Fur- 
thermore, the  core  of  the  pier  came  to  be  surrounded  by  many 
little  colonnettes,each  supporting  some  member  of  the  archivolt  of 
the  main  arcades  or  one  of  the  ribs  of  the  aisle  vaulting.  Since 
each  one  of  these  little  shafts  was  given  a  capital,  the  great  cap- 
ital of  the  main  pier  became  superfluous.  Finally  in  the  spaces 
between  the  shafts  the  mouldings  of  the  archivolts  were  con- 
tinued to  the  ground.  It  was  an  easy  step  to  omit  the  capitals 
of  the  shafts  also,  but  this  step  was  taken  only  in  the  flamboyant 
period. 

The  character  which  Gothic  systems  had  thus  come  to 
assume  in  the  last  half  of  the  XIV  century  is  admirably  shown 
by  the  choir  of  St.  Satur  (111.  235)  —  a  monument  full  of  inter- 
est as  the  only  important  example  extant  of  the  last  phase  of 
Gothic  architecture.  A  glance  at  the  photograph  will  make 
it  evident  how  radically  the  design  of  this  church  departs  from 
the  ideals  of  the  XIII  century. 

Like  the  system,  the  flying  buttress,  though  established  in 
the  transitional  period,  reached  its  perfection  only  in  the  XIII 
century.  Its  development  was  based  upon  two  new  principles 
only  dimly  understood  before  the  year  1200.  The  first  of  these 
was  the  fact  that  the  thrust  of  a  rib  vault  is  spread  over  a  con- 
siderable distance  and  cannot  be  concentrated  on  one  point. 
Therefore  the  flying  buttresses  were  constructed  with  two  half 
arches  or  struts,  one  abutting  the  clearstory  wall  below  the 
other.  The  strip  of  wall  surface  between  the  two  struts  was 
then  stiffened  —  ordinarily  by  means  of  an  engaged  column  — 

273 


GOTHIC   ARCHITECTURE 

and  a  perfect  counter-thrust  had  been  obtained.  Early  ex- 
amples of  double  flying  buttresses  occur  at  St.  Leu  d'Esserent 
and  Senlis.  At  Chartres  (111.  218)  the  idea  was  carried  almost 
to  an  extreme,  —  not  only  were  the  struts  of  the  flying  buttresses 
doubled,  but  the  lower  strut  was  made  immensely  heavy  and 
divided  by  an  open-work  arcade,  thus  forming  practically  a 
triple  flying  buttress.  After  repeated  experiment  it  was  found 
that  perfect  stability  could  be  most  economically  assured  by 
double  buttresses,  such  as  those  of  the  nave  of  Amiens  (111.  236). 
Occasionally,  as  in  the  choir  of  that  cathedral,  the  two  struts 
were  united  by  an  open-work  arcade,  but  the  principle  at  bottom 
was  the  same.  In  smaller  buildings,  and  even  in  a  few  great 
churches,  such  as  the  chevet  of  the  cathedral  of  Coutances,  a 
single  flying  buttress  was  found  suiBcient  to  support  the  vault; 
the  double  type,  however,  continued  to  be  the  truly  character- 
istic form. 

The  second  great  principle  governing  the  development  of 
the  flying  buttress  was  the  obvious  fact  that  its  stability  could 
be  increased  by  piling  up  weight  over  the  upright  portion  of 
the  buttress.  Thus  as  early  as  c.  1212  the  Gothic  master 
builders  of  Soissons  had  begun  to  load  their  buttresses  with 
pinnacles,  but  they  made  the  mistake  of  applying  these  pinnacles 
to  the  inside  edges  of  the  upright  portion  of  the  buttresses,  in- 
stead of  to  the  outside  edges,  where  the  weight  would  be  most 
effectively  exerted.  This  defect,  however,  was  promptly  rem- 
edied in  subsequent  buildings.  Like  many  another  structural 
necessity  of  Gothic,  the  pinnacle  rapidly  became  a  decorative 
feature  of  striking  beauty  —  a  feature,  indeed,  to  which  the 
Gothic  exterior  owes  half  its  character  and  beauty.  Small  at 
first,  these  pinnacles  were  quickly  developed  into  the  noble 
features  which  crown  the  buttresses  of  Amiens  (111.  236)  and 
Reims  (111.  237).  Indeed,  the  flying  buttress  reached  its  most 
perfect  development  at  Reims.  Anything  more  lovely  than 
the  soaring  upward  lines  of  the  pinnacles  of  this  cathedral  with 
their  great  niches  sheltering  statues,  their  countless  wealth  of 
detail,  the  hand  of  man  has  not  produced.  The  flying  buttress 
had  expressed  its  utmost. 

Less  successful  was  the  treatment  of  the  flying  buttress  in 

274 


III.  234.  —  Amiens.     Interior 


III.  235.  —  St.  Satur.     Choir 


III.  236.  —  Flying  buttresses  of  nave.  Amiens 


FLYING   BUTTRESSES 

the  ctievet  of  Reims  (111.  237),  where  double  aisles,  both  of  the 
same  height,  had  to  be  spanned.  The  double  struts  were  built 
in  two  flights,  separated  by  a  buttress  rising  from  between  the 
outer  aisles  and  crowned  by  a  superb  pinnacle.  The  defect 
of  these  buttresses  lay  in  the  fact  that  the  outer  flight  of  struts 
did  not  continue  the  lines  of  the  first,  and  thus  did  not  transmit 
the  thrusts  of  the  great  vault  directly  to  the  outermost  abut- 
ments, as  would  have  been  at  once  more  logical  structurally 
and  more  satisfactory  to  the  eye.'  Since,  however,  continuous 
flights  tended  to  lower  the  elevation  of  the  outer  struts  above 
the  aisle  roof,  and  thus  diminish  the  architectural  effect  of  these 
striking  features,  the  Gothic  builders  long  hesitated  to  make 
the  flights  continuous.  The  perfect  adjustment  was  found 
only  in  the  rayonnant  period,  as  at  St.  Ouen  of  Rouen  (111. 
238). 

The  problem  of  carrying  flying  buttresses  across  double 
aisles  was  complicated,  when,  as  frequently  happened,  the 
inner  aisle  was  higher  than  the  outer,  or  surmounted  by  a  gal- 
lery. In  this  case  flying  buttresses  must  be  provided  not  only 
for  the  great  vaults  of  the  nave,  but  for  the  vaults  of  the  aisle 
or  its  gallery.  In  the  original  design  of  the  cathedral  of  Paris 
there  were  two  flights  of  double  struts,  but  the  lower  strut  of 
the  inner  flight  was  concealed  beneath  the  gallery  roof.  This 
hardly  happy  arrangement  was  later  transformed  in  the  chevet 
into  the  present  system,  where  both  aisles  are  boldly  cleared  by 
a  single  strut  in  one  flight,  while  a  second  single  strut  abuts  the 
gallery  vaults.  The  chevet  of  Coutances  is  analogous.  At 
Bourges  there  are  two  double  flights,  but  the  lower  strut  of  the 
outer  flight  abuts  the  vaults  of  the  inner  aisle,  so  that  the  two 
struts  abutting  the  nave  vaults  are  continued  by  only  a  single 

'  It  is  to  ))e  noticed  that  the  buttresses  rising  from  betTveen  the  aisles  were  probably  stiffer 
than  the  outer  buttresses,  since  the  latter  must  withstand  the  thrusts  of  the  aisle  vaulting  in  ad- 
dition to  the  thrusts  transmitted  by  the  struts,  while  the  former  carried  no  thrusts  from  the  aisle 
vaulting,  for  the  vaults  of  the  inner  and  outer  aisles  exactly  counterbalanced  each  other.  Thus 
the  builders  of  Reims  may  have  wished  to  concentrate  the  thrust  of  the  great  vaults  on  the  inner 
buttresses.  As  a  matter  of  fact,  however,  the  strain  on  the  outer  buttresses  would  not  have  been 
increased  by  making  the  flights  continuous,  since  if  the  inner  buttresses  were  stiff  enough  to 
carry  the  thrusts,  they  would  absorb  these  thrusts  in  any  event.  The  inertia  of  these  inner 
buttresses  would  have  to  be  overcome  before  strain  could  be  brought  to  bear  upon  the  outer 
buttresses. 

275 


GOTHIC   ARCHITECTURE 

strut  in  the  outer  flight  (111.  239).  At  Le  Mans  (111.  221),  a 
most  original  adjustment  was  devised.  Since  the  outer  sup- 
ports were  twice  as  many  as  the  inner  supports,  the  flying  but- 
tresses were  split  in  two  over  the  outer  aisle,  converging  at  an 
ansrle  on  the  buttress  rising;  from  between  the  aisles.  Thus  each 
flight  of  flying  buttresses  over  the  inner  aisle  was  abutted  by 
two  flights  over  the  oviter  aisles.  The  struts  were  similar  in 
each.  These  buttresses  rank  with  the  sadly  mutilated  examples 
of  Beauvais  (111.  240),  as  among  the  noblest  and  most  powerful 
designed  in  the  Gothic  period. 

Although  the  problem  of  the  ambulatory  had  been  prac- 
tically solved  in  the  ti'ansitional  period,  and  although  the  Gothic 
builders  in  the  main  continued  loyal  to  the  principle  of  the  broken 
rib,  they  none  the  less  tried  certain  new  devices  for  erecting 
vaults  on  a  curved  plan.  Of  these  the  most  ingenious  was 
that  introduced  in  the  double  ambulatory  of  Paris,  where  the 
vault  surface  was  cleverly  divided  into  a  series  of  nearly  equal 
triangles  (111.  241).  Here  two  points  of  support  in  the  choir 
corresponded  to  three  between  the  aisles  and  four  in  the  outer 
wall.  At  St.  Remi  of  Reims,  at  Notre  Dame  of  Chalons-sur- 
Marne  (111.  242),  and  in  fact  generally  in  Champagne,  two  col- 
umns were  placed  in  the  mouth  of  the  radiating  chapels.  By 
this  means  the  awkward  trapezoidal  space  of  the  outer  aisle 
was  divided  into  a  rectangle  and  two  triangles,  both  easily 
vaulted.  At  bottom  this  was  only  a  new  variation  of  the  old 
device  the  Carolingian  builders  had  adopted  four  hundred  years 
before  at  Aachen  (111.  85,  Vol.  I).  At  Bourges  (111.  243)  the 
same  principle  (except  that  there  were  no  chapels)  was  applied, 
not  altogether  successfully,  to  ribs  curved  in  plan,  like  those  of 
Morienval.  In  another  group  of  monuments  of  which  the  am- 
bulatory of  Soissons  (111.  244)  is  a  capital  example,  the  motive 
invented  by  the  transitional  builders  at  Poissy  was  developed. 
The  vaults  of  the  radiating  chapel  and  of  the  ambulatory  were 
combined  into  one,  the  keystone  being  placed  about  on  a  level 
with  the  outer  edge  of  the  aisle.  This  same  principle  was  still 
further  developed  in  the  cathedral  of  Coutances  (111.  245)  and 
at  Vitry  (Seine).  At  St.  Quentin  where  there  were  no  radiating 
chapels,   the   vaults,    on   analogy   with   this   construction,   were 

276 


H 


GLAZED   TRIFORIUMS 

made  to  assume  a  form  similar  to  those  of  a  square  east  end 
vaulted  on  the  chevet  principle. 

While  the  Gothic  builders  were  thus  ei^perimenting  with 
the  ambulatory  vault,  a  most  important  innovation  was  intro- 
duced into  the  design  of  the  chevet.  A  polygonal  was  substi- 
tuted for  a  curved  plan.  Polygonal  choirs  had  frequently 
been  erected  on  a  small  scale  in  the  XII  century,  but  the  chevet 
of  Soissons  (1199-1212)  was  perhaps  the  first  building  of  large 
dimensions  to  which  this  principle  was  applied  (111.  244).  After 
Amiens  (1220)  Gothic  chevets  were  always  polygonal. 

The  most  important  change  the  Gothic  builders  wrought 
in  the  design  of  the  nave  was  the  omission  of  triforium  galleries. 
Paris  (111.  226),  Laon,  St.  Remi  of  Reims  (111.  183),  retained  the 
old  division  into  four  stories;  but  in  the  XIII  century  the  gal- 
lery passed  out  of  use  at  about  the  same  time  that  sexpartite 
vaults  ceased  to  be  employed.  Soissons  (111.  228)  and  Chartres 
(111.  229)  established  the  type  of  interior  design  destined  to  pre- 
vail throughout  the  Gothic  period  —  a  type  characterized  by  a 
nave  of  three  stories  with  triforium  arcade  but  no  gallery.  At 
Amiens  (111.  219)  the  triforium  and  clearstory  were  bound 
together  in  a  single  composition  by  continuous  shafts.  This 
motive  had  already  been  tried  in  the  XII  century,  as,  for  example, 
at  St.  Remi  of  Reims  (111.  183),  but  always  in  naves  with  four 
horizontal  divisions.  When  applied  to  a  three-storied  nave 
like  Amiens,  the  effect  was  to  reduce  still  further  the  importance 
of  the  horizontal  lines,  by  substituting  two  great  horizontal 
divisions  for  three.  With  the  vast  dimensions,  especially  of 
height,  that  Gothic  buildings  had  now  come  to  assume,  this 
accentuation  of  the  vertical,  at  the  expense  of  the  horizontal, 
was  of  great  significance.  The  effect  of  the  colossal  dimensions 
was  vastly  increased,  and  the  interior  was  given  that  soaring, 
aspiring  character,  so  typical  of  Gothic  architecture. 

The  motive  was  carried  still  further  when  the  triforium 
came  to  be  glazed,  and  thus  made  to  form  actually  part  of  the 
clearstory.  Such  a  construction  was  in  a  way  the  logical  con- 
clusion of  the  tendencies  of  Gothic  art,  since  the  wall  surface 
was  thereby  still  further  suppressed  and  the  third  horizontal 
story    of    the    nave    absolutely    eliminated.     Furthermore,    the 

277 


GOTHIC   ARCHITECTURE 

esthetic  effect  was  one  of  entrancing  loveliness  (111.  246,  231). 
Nevertheless  the  introduction  of  the  glazed  triforium  marked 
the  first  falling-off  of  Gothic  architecture  from  strictly  struc- 
tural principles;  the  first  sacrifice  of  logic  to  purely  esthetic 
considerations.  For  the  triforium  arcade  had  been  a  struc- 
tural feature,  and  could  be  omitted  only  by  so  far  depressing 
the  slope  of  the  aisle  roofs  as  to  interfere  seriously  with  the 
effective  discharge  of  rain-water,  or  else  by  covering  the  aisles 
with  conical  roofs,  a  construction  which  caused  interior  valleys 
always  difficult  to  drain. 

Conical  aisle  roofs  were  first  constructed  over  the  outer 
ambulatory  of  Reims  (111.  237),  where  the  builders  seem  to 
have  felt  that  a  continuous  lean-to  roof  over  both  aisles  could 
not  be  given  a  sufficiently  steep  slope  without  unduly  elevating 
the  triforium.  The  first  glazed  triforium  to  be  actually  con- 
structed was  probably  that  of  St.  Denis  (111.  246),  erected 
c.  1231,  although  this  example  was  soon  followed  by  the  choir 
of  Beauvais  (111.  231),  built  in  1225-72,  and  by  the  chevet  of 
Amiens  (111.  234),  dating  from  1257-79. 

Apart  from  the  broad  course  of  development  in  the  design 
of  Gothic  naves,  stand  several  monuments  whose  dispositions 
are  thoroughly  exceptional.  The  most  conspicuous  of  these 
is  the  cathedral  of  Rouen,  of  which  the  nave  is  so  extraordinary 
in  design,  that  it  seems  as  if  remnants  of  an  earlier  construction 
must  have  influenced  the  dispositions.  The  side  aisles  are 
separated  from  the  nave  by  two  rows  of  superposed  arcades,  the 
lower  forming  a  sort  of  false  triforium  gallery  below  the  true 
triforium.  A  design  entirely  analogous  —  and  I  believe  the 
only  one  in  France  —  occurs  in  the  church  of  Eu.' 

Other  striking  variations  from  the  usual  Gothic  type  are 
found  in  those  churches  of  five  aisles,  in  which  the  inner  side 
aisles  were  made  higher  than  the  outer.  Of  this  type  Bourges 
(111.  233)  is  the  earliest  and  probably  the  best  known  example, 
as  well  as  the  only  one  in  which  the  pyramidal  section  is 
applied  throughout  the  entire  edifice.  Since  nave  and  inner 
side  aisles  of  this  cathedral  are  both  supplied  with  triforium 
and  clearstory,  it  results  that  the  effect  of  the  vertical  lines  is 

'  Cf.  the  nave  of  the  cathedral  of  O.xford,  England. 
278 


a 


III.  241  —  Paris.     Plan.     (From  Dehio) 


Tn,Ti|„  '^■ftS- — IS.tf!»6a^  DtttEDUie'  toft  Ois£Iliaffli5^-saiir-3iIjunme-  Ainmfefliilbclbcoy 


PLANS 

mucli  marred  by  these  five  strongly  raarked  horizontal  divisions. 
To  compensate  for  this  defect,  however,  great  depth  and 
variety  of  perspective  is  obtained.  In  the  choirs  of  Le  Mans 
(111.  247)  and  Coutances,  where  the  height  of  the  five  aisles  was 
similarly  proportioned,  the  design  was  greatly  improved ;  but  the 
pyramidal  section  was  given  its  most  perfect  development  in 
the  cathedral  of  Beauvais  (111.  231)  —  a  monument  which, 
notwithstanding  its  present  unhappy  condition,  remains  one  of 
the  most  beautiful  and  impressive  of  all  medieval    cathedrals. 

Throughout  the  Gothic  period  country  churches  continued 
to  be  roofed  in  timber,  when  the  resources  of  the  parish  were 
insufficient  to  meet  the  expense  of  erecting  a  vault.  Unfortu- 
nately, owing  to  the  perishable  nature  of  the  material,  hardly 
a  single  example  of  a  timber  roof  of  the  XIII  century  has  come 
down  to  us ;  and  the  one  or  two  that  have  survived  —  e.g.,  in  the 
churches  of  Marigny  (Calvados)  and  of  Vannes  (Aube)  —  have 
been  so  damaged  that  it  is  difficult  to  judge  of  their  original 
character.  There  is  no  doubt,  however,  that  they  were  richly 
decorated  with  painted  ornament.  Several  fine  examples  of 
such  roofs  dating  from  the  flamboyant  period  are  extant,  and 
it  is  probable  that  the  wooden  ceilings  of  the  XIII  century  were 
similar  in  design. 

The  ground  plan  of  the  Christian  church  was  not  essentially 
changed  by  the  Gothic  builders.  The  most  important  innova- 
tion was  the  addition  of  side  aisles  to  the  transepts.  The  south 
transept  of  Soissons  (111.  244)  is  one  of  the  earliest  monuments 
where  this  feature  was  introduced,*  but  it  was  adopted  soon 
after  at  Paris  (111.  241)  and  subsequently  in  all  the  great  cathe- 
drals. Another  innovation  was  the  custom  of  flanking  the  nave 
on  either  side  by  a  row  of  chapels.  Such  chapels  were  erected 
at  St.  Spire  of  Corbeil  as  early  as  c.  1200;  the  nave  chapels  of 
Paris  were  begun  about  1240;  those  of  Evxeux  about  1246;  and 
those  of  Amiens  about  1292.  In  the  XIV  century  chapels  — 
constructed  always  to  the  detriment  of  the  original  edifice  and 
not  infrequently  with  funds  badly  needed  for  the  construction 
of  more  essential  parts  of  the  building  —  were  added  to  the  great 
majority  of  cathedrals. 

'  The  XI  century  church  of  St.  Rami,  Reims,  seems  to  have  had  transepts  with  side  aisles. 

279 


GOTHIC   ARCHITECTURE 

The  Gothic  plan,  in  which  practically  the  only  solids  are 
the  piers  and  buttresses,  clearly  expresses  the  skeleton  character 
of  the  architecture.     Even  in  paper  drawings  the  story  of  bal- 


III.  244. — Soissons.     Plan.     (From  Dehio) 

anced  thrusts  is  told  as  distinctly  and  logically  as  in  the  super- 
structure of  the  building  itself  (111.  241,  '243,  244,  245,  248,  249, 
250,  251).     Although  the  plan  of  each  cathedral  shows  much 

280 


III.  243.  —  Bourges.     Plan.      (From  Dehio) 


FACADES 

individuality  and  many  peculiar  and  original  features  due  to 
the  esthetic  preferences  of  the  master  builders  who  designed  it, 
a  certain  general  progress  and  development  may  still  be  traced. 
Laon  (111.  248)  is  to-day  remarkable  for  its  square  east  end,  — 
a  disposition  common  enough  in  parish  churches,  but  unique 
among  the  great  French  cathedrals,  —  although  this  monument 
originally  terminated  in  a  chevet.  Five  aisles  and  a  chevet 
without  radiating  chapels  characterize  the  plan  of  Paris  (111. 
241).  The  plan  of  Bourges  (111.  243)  is  similar  to  that  of  Paris, 
but  the  transepts  are  omitted.  At  Chartres  (111.  249)  the  typical 
plan  of  the  Gothic  cathedral  was  first  evolved,  the  plan  that  was 
destined  to  be  still  further  developed  at  Reims  (111.  251),  and 
carried  to  perfection  at  Amiens  (111.  250),  where  the  proportion 
of  solids  to  voids  was  reduced  to  its  minimum.  The  many 
further  variations  subsequently  wrought  are  of  minor  impor- 
tance; the  Gothic  plan  had  been  perfected. 

A  remarkable  characteristic  of  Gothic  planning  is  the  free- 
dom with  which  the  builders  placed  a  column  or  a  corner  on 
axis  when  convenience  or  necessity  required.  Modern  taste, 
educated  on  works  of  the  Renaissance,  is  apt  to  be  shocked  at 
this  violation  of  the  laws  of  the  Medes,  Persians,  and  Vignola. 
It  must  be  admitted,  however,  that  the  Gothic  architects  vio- 
lated convention  with  such  restraint  and  delicacy  that  criticism 
is  disarmed.  Even  the  most  confirmed  classicist  can  hardly 
pretend  to  be  offended  by  such  designs  as  the  piers  on  axis  at 
Deuil  (Seine-et-Oise)  or  at  Jouy-le-Comte,  or  with  the  corners 
on  axis  in  the  triangular  transept  of  St.-Jean-du-Corail  or  in 
the  apses  of  Chennevieres  and  St.-Eloi-de-Gy  (Cher).  In  fact, 
probably  not  one  person  in  a  hundred,  unless  their  attention 
were  specially  called  to  it,  would  even  ever  suspect  that  estab- 
lished usage  had  been  violated  in  these  cases. 

In  nothing  did  the  Gothic  builders  achieve  greater  success 
than  in  the  composition  of  the  fa9ade,  and  this  success  is  so 
much  the  more  noteworthy  because  the  problem  which  here 
confronted  them,  as  has  been  remarked,  was  one  of  extreme 
difficulty.  The  first  of  the  great  Gothic  fa9ades  in  point  of 
dignity  is  undoubtedly  that  of  Paris  (111.  223),  —  a  design  of 
which   no   words    can   express    the   exalted   beauty.     Grandeur 

281 


GOTHIC   ARCHITECTURE 

of  composition,  nobility"  of  silhouette,  perfection  of  proportion, 
wealth  of  detail,  infinitely  varied  play  of  light  and  shade  com- 
bine to  raise  this  composition,  so  majestic,  so  serene,  to  the  place 
it  has  ever  occupied  in  the  heart  of  every  one  endowed  with  the 
slightest  feeling  for  the  beautiful. 


III.  245.  —  Coutances.     Plan.     (From  Dehio) 

Although  lacking  the  exuberant  richness  of  Amiens  or  Reims, 
the  west  front  of  Paris  still  unites  all  the  elements  that  character- 
ize the  fa9ades  of  the  XIII  century.  The  division  into  three 
parts  by  buttresses  rising  clear,  sharp,  incisive  from  the  ground  to 
the  topmost  summit  of  the  towers,  gives  strongly  marked  verti- 
cal lines  which  add  infinite  strength  and  vigor  to  the  composition; 

282 


III.  246.  —  St.  Denis.     Interior 


41 


luL.  ^4T.  —  SortwMii  (rf  Le  Msuhel 


FACADES 

and  in  a  three-aisled  church  (which  Paris,  however,  is  not)  such 
a  division  expresses  externally  the  three  aisles  of  the  interior. 
Twin  towers  flank  the  gable;  below  the  nave  vaults  opens 
the  great  rose  window.  The  horizontal  divisions  are  formed 
by  two   galleries,  —  in    reality   nothing    more    than    magnified 


III.  248.  —  Plan  of  Laon.     (From  Dehio) 

string-courses  —  one  marking  the  height  of  the  nave,  the  other 
the  height  of  the  side  aisles.  The  lower  gallery,  known  as  the 
gallery  of  the  kings,  from  the  royal  statues  which  adorn  the  niches, 
projects  outward  considerably  from  the  upper  part  of  the  f a9ade ; 
in  fact,  the  whole  structure  is  given  a  pyramidal  or  sloping 
form,  partly  to  gain  greater  stability,  partly  to  thicken  the  lower 
part  of  the  wall  in  which  the  great  portals  are  pierced. 

283 


GOTHIC   ARCHITECTURE 

These  mighty  western  portals  are  the  glory  of  the  French 
cathedral.  Peopled  with  a  countless  host  of  statues,  enriched 
with  an  infinite  wealth  of  detail,  they  mark  the  utmost  achieve- 
ment of  Gothic  decorative  art.  The  central  portal  of  Paris 
is  in  six  orders;  the  two  side  portals  are  only  less  sumptuous. 
No  photograph  can  give  an  idea  of  the  splendor  and  variety 
of  this  detail  which  is,  nevertheless,  always  so  strictly  subordi- 
nated to  architectural  requirements. 

The  fa9ade  of  Noyon  (111.  252),  while  in  no  way  possessing 
the  majesty  and  beauty  of  the  west  front  of  Paris,  is  still  not 
without  a  grandeur  and  an  austere  charm  of  its  own.  The 
design  is  peculiar  in  that  the  rose  window  is  omitted  and  there 
is  only  a  single  gallery.  The  great  interest  and  charna  of  this 
fa9ade  lies  in  the  narthex  porch  which  precedes  it.  This  fea- 
ture was  developed  into  a  series  of  projecting  gables  of  match- 
less charm  in  the  noble  fa9ade  of  Laon  (111.  222),  —  a  fa9ade 
whose  design,  while  lacking  the  repose  and  majesty  of  Paris,  is 
still  notable  for  its  subtly  moulded  planes  and  varied  surfaces, 
with  their  charming  play  of  light  and  shade. 

The  superb  fa9ade  of  Amiens  (111.  253),  of  which,  unfortu- 
nately, only  the  three  lower  stories  are  of  the  XIII  century,  would 
doubtless  have  been  the  noblest  of  all  Gothic  frontispieces,  had 
it  been  finished  according  to  the  original  design.  The  portals 
in  nine  orders  of  extraordinary  richness  are  among  the  most 
astounding  compositions  ever  produced  by  Gothic  art  (111. 
254).  These  splendid  entrance-ways  are  filled  from  top  to 
bottom  with  the  finest  productions  of  medieval  sculpture;  yet 
all  this  detail  is  strictly  architectural  in  character,  and  never 
distracts  the  eye  from  the  main  lines  of  the  edifice.  The 
general  design  of  this  fa9ade  is  peculiar  in  that  both  galleries 
are  placed  below  the  great  rose  window.  The  outer  edges  of 
the  great  buttresses  are  flush  with  the  portals,  but  not  obscured 
by  them;  and  the  retreats  of  the  buttresses  are  crowned  by 
splendid  pinnacles.  The  detail  of  the  entire  composition  is  of 
unequaled  excellence. 

Full  of  poetry  and  imagination  is  the  fa9ade  of  Reims  (111. 
224).  If  the  firmness  and  virility  of  Paris  are  felt  to  be  lacking 
in  this  design,  it  is  still  impossible  to  quarrel  with  such  a  lovely 

284 


III.  249.  —  Plan  of  Cliartres.     (From  Dehio) 


FACADE   OF   REIMS 

phantasy.     Notwithstanding    the    exuberant    wealth    of    detail 
with  which   this  front  is  adorned,   the   main   divisions  are   as 


III.  250.  —  Plan  of  Amiens.     (From  Durand) 


strongly  marked,  and  even  more  simple  than  those  of  the  fa9ade 
of  Paris,  since  there  are  only  four,  instead  of  five,  horizontal 


GOTHIC   ARCHITECTURE 

divisions.  It  is  to  be  noticed  that  the  gables  of  the  portals  of 
Reims,  unlike  those  of  Amiens,  project  beyond  the  buttresses, 
and  are,  as  it  were,  wrapped  around  them.  The  lower  parts 
of  the  buttresses  thus  seem  to  fade  away.  This  disposition  is 
unfortunate,  since  it  destroys  the  all-important  vertical  lines  of 
the  fa9ade  and  hides  from  sight  an  important  structural  member. 


III.  251.  —  Plan  of  Reims.    (From  Deliio) 

Transept  ends  were  usually  designed  on  principles  quite 
similar  to  those  which  governed  the  composition  of  the  west 
fa9ade.  Since,  however,  they  were  less  important  than  the 
maiti  front  of  the  church,  the  design  was  ordinarily  less  elaborate, 
and  the  towers  which  were  almost  invariably  intended  to  flank 
the   central   gable   have   seldom   been   carried   above   the   roof. 

286 


III.  2a'2.  —  Facade  of  Noyon 


G.IRGOYLES 

The  most  beautiful  of  all  transept  facades  are  those  of  Ctiartres 
(111.  256)  with  their  exquisite  porches,  —  the  glorification  of 
the  narthexes  of  Laon  and  Noyon,  —  and  their  wealth  of  statu- 
ary eclipsing  the  west  portals  of  almost  any  other  cathedral.  The 
Portail  des  Libraires  of  the  cathedral  of  Rouen  (111.  225),  though 
unfortunately  obscured  by  other  buildings,  is  one  of  the  finest 
transept-ends  of  the  rayonnant  period,  and,  while  perhaps 
somewhat  over-ornate,  is  none  the  less  a  design  of  great  charm. 

Of  all  the  endless  detail  that  adorns  the  exterior  of  the  Gothic 
cathedral,  whether  in  France  or  Normandy,  no  feature  has 
won  for  itself  a  more  universal  or  enduring  place  in  the  hearts 
of  men,  than  the  gargoyle.  These  fascinating  grotesques, 
these  lovable  monsters,  are  not  merely  the  chance  imaginings 
of  some  disordered  fancy.  Beneath  the  outward  humor,  the 
queer  assemblage  of  disordered  members,  there  lurks  a  satiric 
quality  —  at  times,  strange  as  it  may  seem,  e'ven  a  grandeur,  a 
tragic  power  —  with  which  the  Gothic  sculptor  seldom  was 
able  —  or  rather  seldom  cared  —  to  imbue  his  more  serious 
compositions.  Moreover  these  myriads  of  strange  beasts  that 
grin  and  leer  from  every  flying  buttress,  that  climb  everywhere 
among  the  eaves,  that  peek  around  the  most  unexpected  cor- 
ners, are  not,  as  might  be  supposed,  purely  decorative  carvings, 
but  they  perform  the  humble  structural  function  of  throwing 
far  off  from  the  walls  the  rain  water  gathered  in  the  gutters. 
This  water  is  ordinarily  conducted  along  a  groove  cut  in  their 
back  and  discharged  through  the  open  mouth.  Here  again 
the  genius  of  the  Gothic  artists  happily  united  structure  and 
decoration. 

From  a  similar  structural  need  developed  the  parapets 
which  crown  the  cornices  of  the  Gothic  cathedral,  and  form  so 
striking  a  feature  of  the  exterior  design.  The  passageways 
giving  access  to  all  the  upper  parts  of  the  building  required  bal- 
ustrades to  protect  any  one  using  them  from  falling  off.  At 
Paris,  Soissons,  Chartres,  such  simple  balustrades  occur.  At 
Amiens  (111.  236)  and  Beauvais  (111.  240)  the  balustrade  was 
developed  into  a  prominent  external  feature.  At  Reims  the 
balustrade  had  become  a  mighty  parapet,  one  of  the  loveliest 
features  of  the  entire  external  design  (111.  237). 

287 


GOTHIC   ARCHITECTURE 

A  similar  logic  would  have  required  the  use  of  balustrades 
in  the  interior  passageways,  along  the  galleries  of  the  clearstory 
and  triforium;  and,  in  fact,  such  balustrades  were  freely  em- 
ployed in  Normandy,  where  they  became  one  of  the  most  strongly 
marked  peculiarities  of  the  local  Gothic  school,  although  they 
were  always  avoided  by  the  builders  of  the  He  de  France,  ever 
reluctant  to  accentuate  the  horizontal  lines  of  their  interiors. 
Normandy,  situated  midway  between  France  and  England, 
was  always  strongly  influenced  by  the  English  style.  Thus 
the  Norman  builders  tended  to  renounce  the  extreme  height 
and  soaring  vertical  lines  so  characteristic  of  French  Gothic, 
and  seek  instead  greater  richness  of  internal  decoration.  The 
elaborately  ornamented  balustrades  of  clearstory  and  triforium 
found  in  almost  all  Norman  churches  were  the  result  of  these 
tendencies.  The  cathedral  of  Seez  (111.  232)  gives  an  excellent 
idea  of  the  effect  of  such  strongly  marked  horizontal  lines.  Soon 
the  balustrade  came  to  entirely  supplant  the  triforium,  the 
latter  being  reduced  to  a  concealed  passageway.  An  early  step 
in  this  direction  was  taken  in  the  nave  of  the  cathedral  of 
Bayeux.  How  far  the  tendency  had  progressed  by  the  XIV 
century  is  shown  by  the  nave  of  St.  Pierre  of  Caen  (111.  259). 

Another  characteristic  of  the  Gothic  school  of  Normandy 
is  the  love  of  double  walls,  a  feature  directly  derived  from  the 
interior  passageways  of  the  old  Norman  Romanesque.  So 
fond  were  the  Gothic  builders  of  Normandy  of  the  double  tra- 
cery obtained  by  piercing  openings  of  different  design  in  the  two 
surfaces  of  a  double  wall,  that  they  never  quite  resigned  them- 
selves to  adopt,  even  in  the  clearstory,  the  French  idea  of  sup- 
pressing the  wall  surface.  Thus  the  Norman  structure  always 
remained  somewhat  ponderous,  and  the  supports  were  never 
made  so  light,  nor  the  vault  so  lofty,  as  in  the  He  de  France. 

Also  characteristic  of  Norman  Gothic  is  a  peculiar  type  of 
fa9ade  differing  widely  from  that  current  in  the  He  de  France. 
The  cathedral  of  Coutances  (111.  255)  furnishes  a  noble 
example.  As  is  usual  in  the  Norman  school  there  is  no  rose 
window  in  this  fa9ade;  but  in  revenge,  the  sturdy  towers  have 
received  and  still  retain  their  spires,  and  form  one  of  the  most 
picturesque    architectural    compositions    of    all     Christendom. 


III.  253.  —  Fa(;side  of  Amiens 


III.  254.       Central  Portal  of  Amiens 


NORMAN   SPIRES 

The  portals,  without  gables,  are  singularly  poor  compared  with 
those  of  the  He  de  France.  The  great  weakness  of  this  in 
common  with  all  Norman  fa9ades,  however,  lies  in  the  awk- 
ward manner  in  which  the  towers  are  disengaged.  For  the  I'est, 
the  design  differs  from  the  French  type  in  that  the  galleries 
are  omitted,  the  fa9ade  below  the  gable  being  divided  into  two 
stories,  of  which  the  lower  consists  of  the  portals,  the  upper 
of  great  pointed  windows.  Singularly  uncompromising  and 
austere  is  the  front  of  Coutances  compared  with  the  gracious 
charm  of  Reims  (111.  224) ;  yet  the  Norman  composition,  for 
all  its  restraint,  is  not  devoid  of  poetry,  and  is  full  of  vigor  and 
originality. 

The  local  school  of  Normandy  excelled  above  all  in  the  de- 
sign of  spires,  in  which  it  far  outstripped  even  the  He  de  France, 
where  the  towers  but  seldom  received  their  crowning  members. 
The  XIII  and  XIV  centuries  have  left  in  Normandy  —  espe- 
cially in  the  departement .  of  Calvados  '■  —  a  series  of  spires, 
which,  although  often  attached  to  the  meanest  and  most  insig- 
nificant country  churches,  yet  for  inspiration  of  design  and  for 
perfection  of  proportion  must  rank  among  the  greatest  master- 
works  of  architectural  art.  These  Norman  dockers  are  differ- 
ent from  those  of  the  He  de  France  in  that  no  octagonal  drum 
is  inserted  between  the  square  tower  and  the  spire.  The  tran- 
sition is  effected  by  the  familiar,  but  none  the  less  satisfactory 
expedients  of  angle  turrets  and  dormer  windows.  Perhaps 
the  finest  spire  of  all  Normandy  is  that  of  St.  Pierre  of  Caen 
(111.  257),  a  spire  which  is,  indeed,  perfection  in  its  way.  Other 
beautiful  types  may  be  found  at  Coutances  (111.  255)  and  in 
the  Abbaye-aux-Hommes  (111.  133). 

In  the  departement  of  Manche  another  type  of  spire  was 
developed,  doubtless  under  English  influence.  The  tower  was 
cut  off  squarely  and  abruptly,  and  crowned  by  a  balustrade, 
on  which  were  set  four  corner  turrets  utterly  inadequate  to 
relieve  the  transition  to  the  spire.     The  strong  lines  of  these 

'At  Maizieres,  Rou%Tes,  Norrey;  at  St.  Pierre,  St.  fitienne  and  St.  Sauveur  of  Caen;  at 
St.  Michel  of  Vaucelles;  at  St.  Loup  of  Beauvais;  at  Bernieres-sur-Mer,  Secqueville-en- 
Bessin,  Montivilliers,  Ifs,  Lou%'ieres,  Asnieres,  Colombier-sur-Seulles,  Basly,  Tour,  St.  Pair, 
Huppain,  Villiers-sur-Pont  and  in  the  cathedrals  of  Seez,  Coutances,  and  Bayeux. 

289 


GOTHIC   ARCHITECTURE 

balustrades  are  extremely  unpleasant,  since  they  accentuate 
the  transition  from  tower  to  spire,  instead  of  softening  it.  Ex- 
amples of  such  designs  exist,  e.g.,  at  Picauville  and  Colomby. 

Other  characteristics  of  the  Norman  school  are  the  central 
lanterns  almost  invariably  present,  the  sparing  use  of  tracery 
and  flying  buttresses.  There  is  also  noticeable  a  constant 
tendency  towards  over-elaborate  decoration,  especially  of  the 
interior  —  an  ear-mark  of  English  influence.  The  wall  spaces 
are  often  nearly  covered  with  purely  gratuitous  carved  orna- 
ment as  at  Seez  (111.  232) :  the  mouldings  of  the  archivolts  are 
indefinitely  multiplied  and  often  project;  the  abaci  of  the  cap- 
itals are  round;  the  profiles  weak.  In  a  word  Norman  Gothic 
architecture  lacks  the  purity  and  virility  of  the  school  of  the 
He  de  France.  It  presents,  however,  compensating  features 
especially  in  its  spires,  and  all  in  all  must  be  considered  as  dis- 
tinctly the  most  successful  of  the  secondary  Gothic  schools. 


The  misfortunes  of  the  XIV  century,  if  they  hastened  the 
death  of  Gothic,  were  at  least  responsible  for  the  evolution  of 
a  new  type  of  architecture.  "In  this  year  [1358],"  says  Jean 
de  Vinette,  "many  villages  which  possessed  no  fortifications, 
made  veritable  strongholds  of  their  churches.  Moats  were 
dug  to  surround  the  sacred  edifices,  and  the  towers  and  spires 
were  supplied  with  stones  and  engines  of  war,  with  a  view  to 
defending  the  town  in  case  it  should  be  attacked  by  brigands, 
as  often  happened."  '  Of  the  fortified  churches  that  have  come 
down  to  our  day,  the  most  beautiful,  as  well  as  the  most 
famous,  is  the  cathedral  of  Albi  (111.  260),  a  monument  which,  of 
course,  is  situated  in  the  Midi  and  is  thoroughly  Southern  in 
style.  In  northern  France,  however,  are  extant  several  examples 
of  small  fortified  churches,  of  which  perhaps  the  best  preserved 
is  that  of  Chitry  (Yonne). 

The  accessory  ecclesiastical  buildings  have  been  so  pitilessly 
destroyed  in  France  that  only  a  few  broken  fragments  here 
and  there  have  come  down  to  us.  Traces  of  the  ancient  clois- 
ters survive  at  Laon,  Noyon,  St.   Jean-des-Vignes  de  Soissons, 

1  Cit.  Lavisse,  op.  cit.,  IV',  132. 
290 


111.  HoS.  —  Facade  of  Coutances 


ORNAMENT 

and  elsewhere;  chapter  houses  at  Noyon,  Plessis-Grimoult,  etc., 
but  there  is  hardly  a  single  well-preserved  example  of  the  ec- 
clesiastical establishments  of  an  abbey  or  cathedral  in  the  He 
de  France  or  Normandy.  Mt. -St. -Michel  is,  indeed,  an  ex- 
ception; but  notwithstanding  the  unique  interest  and  beauty 
of  this  abbey  it  is  in  no  way  typical  of  the  average  French  mon- 
astery. The  architecture  is  of  the  most  pronounced  Norman 
type  and  much  more  English  than  French  in  style.  Further- 
more, the  strange  and  picturesque  situation  of  this  monastery, 
placed  on  the  summit  of  a  precipitous  rock,  necessitated  modi- 
fications in  the  planning  and  disposition  of  the  buildings.  Ex- 
traordinary as  is  the  interest  of  Mt.-St.-Michel,  it  would  be  a 
mistake  to  consider  this  abbey  as  in  any  way  a  typical  French 
monastery. 

French  chapter  houses  seem  to  have  been  ordinarily  square 
or  rectangular  in  plan,  like  that  of  Noyon.  In  the  circular 
plan  of  the  chapter  house  of  Plessis-Grimoult  it  is  not  unreason- 
able to  suspect  another  instance  of  that  English  influence  so 
noticeable  everywhere  in  the  Gothic  architecture  of  Normandy. 


In  the  domain  of  carved  ornament,  the  arrival  of  the  Gothic 
period  was  announced  by  the  appearance  of  the  crocket  (111. 
258,  261),  a  motive  which  originated  in  the  turned-over  edges 
of  the  leaves  supporting  the  abaci  of  capitals.  The  Gothic 
sculptors  immediately  seized  upon  the  crocket  as  par  excellence 
the  most  fitting  motive  for  the  ornamentation  of  capitals,  and, 
in  fact,  no  supporting  members  more  exquisite,  more  architec- 
turally appropriate  than  these  early  crocketed  capitals  (111. 
212)  have  ever  been  designed.  It  should  be  noticed  that  in 
the  early  capitals  the  crockets  are  not  without  structural  sig- 
nificance. The  four  upper  ones  perform  a  distinctly  utilitarian 
service  in  supporting  the  corners  of  the  abacus,  while  those  of 
the  lower  row  are  necessary  to  smooth  the  transition  from  the 
upper  to  the  lower  portions  of  the  bell.  Later,  when  the  abaci 
were  made  octagonal,  the  crockets  lost  their  structural  signifi- 
cance, and  became  merely  ornaments. 

The  crocket  was  used  not  only  in  the  decoration  of  capitals, 

291 


GOTHIC   ARCHITECTURE 

but  it  was  applied  with  flie  greatest  freedom  to  the  exterior  of 
the  edifice.  Rows  of  crockets  marked  the  Hnes  of  gables,  the 
ridges  of  pinnacles,  the  jambs  of  doorways.  The  finials,  which 
crowned  all  the  pinnacles,  were  merely  a  variation  of  the  crocket 
motive.  On  the  towers  of  Paris  (111.  223,  258),  literally  thou- 
sands of  crockets  mark  the  lines  of  windows  and  buttresses. 
Interior  and  exterior  string-courses  and  archi volts,  cusps  and 
niches,  were  in  the  early  Gothic  period  almost  invariably  deco- 
rated with  the  same  motive.  Indeed,  the  early  Gothic  archi- 
tects employed  the  crocket  lavishly  whenever  there  was  a  strong 
line  to  be  emphasized,  since  the  conspicuous  spots  of  light  and 
shade  so  characteristic  of  this  ornament  at  once  caught  and  held 
the  eye.  The  strong  lines  produced  by  the  liberal  use  of  the 
crocket  contributed  not  a  little  to  that  unity  and  subordination 
of  parts  which  is  the  crowning  glory  of  Gothic  architecture. 

At  the  end  of  the  first  quarter  of  the  XIII  century  the  popu- 
larity of  the  crocket  somewhat  declined.  In  string-courses  it 
was  replaced  by  more  naturalistic  foliage;  in  capitals  it  still 
survived,  but  tended  to  lose  its  distinctive  character  and  be 
transformed  into  floral  ornament.  The  early  round  bulbous 
form  came  to  be  supplanted  by  groups  of  naturalistic  leaves,  at 
first  of  the  most  exquisite  delicacy  (111.  212),  but  tending  to 
become  more  and  more  florid.  At  length  the  crocket  lost  its 
own  individuality,  and  merged  into  the  naturalistic  capital 
(111.  262).  On  gables,  on  the  angles  of  spires  and  pinnacles, 
the  crocket  enjoyed  a  somewhat  longer  existence,  but  here,  too, 
it  at  last  lost  its  original  character,  and  often  assumed  highly 
naturalistic  forms. 

The  flora  which  succeeded  the  crocket  and  the  early  con- 
ventionalized leaf-forms  in  the  capitals,  string-courses,  and 
bands  was  infinitely  varied;  its  tendency,  however,  was  always 
in  the  direction  of  more  and  more  direct  imitation  of  nature.^ 
At  first  these  naturalistic  forms  were  admirably  restrained  and 

1  .Ajchaeologists  who  are  also  botanists  have  identified  with  much  exactness  the  various 
species  of  Gothic  flora,  which  are  invariably  taken  from  plants  common  in  the  neighborhood. 
According  to  M.  Lambin  the  following  are  the  more  usuallj'  imitated  plants.  In  the  XII  cen- 
tury, arum,  nenuphar,  iris,  plaintain,  fougere,  vigne  echaucree.  In  the  XIII  century,  trefle, 
renoncule,  chelidoine,  aucoUe,  hepathique,  figurier,  chene,  rosier.  To  these  were  added  in  the 
XV  century  houx,  houblon,  chardon,  chou  frise,  chicoree,  algues  marines. 

292 


III.  256.  —  South  'Iransepl-end  of  Chartres 


FLORAL   ORNAMENT 

conventionalized  as  in  the  well-known  string-course  of  Amiens 
(111.  219),  but  by  the  middle  of  the  XIII  century  Gothic  flora 
had  bi'oken  from  control,  and  had  commenced  to  run  riot  in 
purely  naturalistic  forms,  which,  however  lovely  in  themselves, 
were  yet  lacking  in  architectural  propriety.  How  disquieting 
to  the  efi^ect  of  the  ensemble  and  how  distracting  to  the  eye  is 
such  naturalistic  foliage  may  be  judged  from  the  nave  of  Reims 
(111.  230)  —  a  monument  which  is  nevertheless  a  comparatively 
early  work,  and  one  of  the  most  tasteful  examples  of  naturalistic 
decoration. 

In  the  capitals  of  the  last  half  of  the  XIII  century,  the  struc- 
tural function  of  the  foliage  was  entirely  forgotten.  It  is  as  if 
some  one  had  twined  about  the  column  a  wreath  of  flowers  and 
leaves  forming  no  part  of  the  organic  structure.  The  flora 
was  designed  with  the  purpose,  not  of  forming  an  appropriate 
architectural  member,  but  of  reproducing  natural  forms  ex- 
actly, in  the  most  minute  detail.  As  time  went  on  the  bulge  of 
the  bell  was  altogether  eliminated,  support  and  load  became 
of  the  same  size,  the  same  shape.  The  abacus  instead  of  pro- 
jecting became  merely  a  moulding  applied  to  this  continuous 
member.  The  capital  thus  lost  its  structural  purpose,  which 
had  been  to  adjust  the  load  to  a  support  of  different  size  and 
shape,  and  degenerated  into  a  mere  string-course  destined  solely 
to  mark  the  springing  of  the  arches.  Since  there  was  no  reason 
for  proportioning  a  string-course  to  the  diameter  of  the  column, 
the  depth  of  the  capital  was  gradually  decreased  until  it  became 
merely  a  little  strip  decorated  with  a  few  stray  leaves  or  grotesque 
carvings  (111.  235).  In  the  flamboyant  period  was  taken  the 
logical  step  of  omitting  the  capital  altogether. 

Side  by  side  with  the  flora  flourished  the  fauna  of  the  Gothic 
cathedral.  We  have  already  said  a  word  about  the  most  im- 
portant group  of  Gothic  animals,  the  gargoyles,  but  the  cathe- 
dral was  also  inhabited  by  many  other  monsters  hardly  less 
fascinating.  The  corbel-table,  where  Romanesque  and  transi- 
tional artists  had  found  the  freest  field  for  grotesque  carvings, 
passed  out  of  use,  c.  1200,  being  supplanted  by  the  crocheted 
cornice;  but  corbels  still  continued  to  be  carved  into  strange 
animals,    or    queer    hunchbacked    men;  dwarfs    supported    on 

293 


GOTHIC   ARCHITECTURE 

their  shoulders  the  pedestals  of  the  great  statues;  queer  beings, 
half  man,  half  monster,  held  up  the  cornices;  while  over  the 
balustrades  leaned  devil  and  griffin,  pelican  and  elephant,  look- 
ing out  over  the  city  now  with  a  look  of  malignant  hatred,  now 
with  an  expression  of  infinite  sadness  and  longing.  In  such 
figures  (111.  258)  the  Gothic  sculptor  was  at  his  best;  he  seems 
for  once  to  have  escaped  from  the  tutelage  of  the  theologian 
and  with  sublime  freedom  and  joy  in  his  work  to  have  given 
unbridled  rein  to  his  imagination.  These  carvings,  monstrous 
though  they  be,  rise  to  a  high  plane  of  art.  Under  the  strange 
conglomeration  of  eagle's  head,  man's  arms  and  animal's  body 
there  is  hidden  a  sentiment,  a  power  of  expression  that  is  worthy 
of  the  most  serious  sculpture.  Like  everything  else  in  Gothic 
art,  these  figures  are  infinitely  varied  in  design;  no  two  are 
alike  in  composition  or  expression. 

The  restraint  so  characteristic  of  all  Gothic  ornament  was 
shown  in  the  use  of  grotesque  carvings.  Notwithstanding  the 
marvelous  success  of  these  decorations  they  are  never  used  to 
excess,  nor  obtruded  into  undue  prominence.  From  the  middle 
of  the  XII  until  the  XIV  century  they  were  wisely  banished 
from  capitals,'  for  the  birds  and  even  the  animals  which  were 
occasionally  introduced  among  the  leaves,  fruits,  and  flowers 
of  the  capitals  and  string-courses  of  the  last  half  of  the  XIII 
century,  are  naturalistic  representations  rather  than  grotesques. 
AVhen  the  grotesques  did  reappear  in  the  capitals,  they  were 
no  longer  employed,  as  in  the  Romanesque  and  transitional 
periods,  in  a  structural  manner,  the  heads  being  made  to  form 
volutes  or  fleurons,  and  the  whole  figure  being  conformed  to 
the  shape  of  the  bell.  Tlie  growing  taste  for  naturalism  had 
long  since  eliminated  the  structural  significance  of  the  decora- 
tion of  the  capital,  and  the  grotesques  were  applied  as  a  narrow 
band  of  sculpture. 

^^^lile  the  carved  ornament  of  the  capital  was  undergoing 
such  modifications,  the  mouldings  of  the  abaci  were  also  being 
transformed.  At  the  end  of  the  XII  century  the  abacus  was 
square  in  plan;  its  mouldings  while  much  varied  were  Aagorous, 
and  the  upper  member  had  always  a  rectangular  profile.     The 

'  Save  in  exceptional  instances. 
294 


III.  259.  —  St.  Pierre  of  Caen.     Interior 


PROFILES 

first  modifications  were  introduced  in  order  to  adapt  the  abacus 
more  closely  to  the  form  of  its  superimposed  load.  The  angles, 
which  ordinarily  projected  a  little,  were  cut  off,  at  first  very 
slightly,  but  more  and  more  until  by  c.  1200  the  abacus  had 
become  a  regular  octagon  in  plan.  The  next  step  resulted  from 
the  necessity  of  building  out  the  center  of  the  principal  face  of 
the  abacus  to  project  beyond  the  shafts  of  the  system  and  the 
colonnette  engaged  on  the  pier.  Soon  all  attempt  was  abandoned 
to  preserve  a  regular  or  symmetrical  form  for  the  abacus,  which 
adapted  itself  freely  to  the  shape  of  its  load,  following  closely 
the  general  foi'm'  of  the  latter  but  regularizing  it.  In  arcades, 
where  a  cylindrical  shaft  supported  a  load  of  rectangular  shape 
the  abacus  throughout  the  Gothic  period  was  usually  octag- 
onal. The  depraved  and  weak  round  abacus  is  exceptional  in 
the  He  de  France,  though  it  is  common  in  Normandy  and  Eng- 
land. The  abaci  of  the  capitals  of  the  vaulting  shafts  were 
usually  of  rectangular  form,  but  were  regularly  set  diagonally, 
so  as  to  follow  more  closely  the  profile  of  the  ribs  which  they  must 
carry  (111.  219). 

After  the  first  quarter  of  the  XIII  century  it  came  to  be  usual 
to  still  further  soften  the  abacus  by  rounding  or  sloping  the  upper 
member,  as  in  the  capitals  of  the  triforium  of  Amiens  (111. 
219).  The  moulding  became  highly  complicated  and  generally 
less  vigorous,  the  whole  member  declined  in  strength  and  im- 
portance. In  Normandy,  here  as  ever  under  English  influence, 
the  foliage  of  the  capital  was  often  omitted  entirely,  the  bell, 
necking,  and  abacus  becoming  merely  a  series  of  mouldings 
turned  as  it  were  in  a  lathe.  In  the  He  de  France,  however, 
this  strangely  unpleasant  form  was  common  only  in  the  last 
half  of  the  XIV  century  (111.  235). 

The  profiles  of  bases  followed  a  similar  course  of  develop- 
ment during  the  XIII  century.  The  great  square  plinths, 
which  had  added  so  much  to  the  appearance  of  solidity  and 
strength  of  the  bases  of  the  early  Gothic  period,  were  found  to 
occupy  overmuch  floor  space  with  their  projecting  angles.  The 
corners  were  accordingly  cut  off,  the  plinth  was  given  an  octag- 
onal plan,  the  griffes  in  consequence  were  much  reduced,  and 

'  For  an  excellent  study  of  this  point  see  Moore,  Gothic  Architecture,  p.  124. 

295 


GOTHIC   ARCHITECTURE 

finally  were  omitted  altogether.  Later  the  diameter  of  the  octag- 
onal plinth  was  diminished  so  that  only  the  corners  were  tan- 
gent to  the  superposed  torus,  whose  curve  widely  overhung  the 
sides  of  the  plinth.  Towards  the  end  of  the  XIII  century  the 
height  of  the  plinth  was  much  increased.  To  avoid  the  appear- 
ance of  too  great  slenderness  it  was  consequently  necessary  to 
introduce  spreading  set  backs,  which  were  always  finished  with 
a  sloping  upper  surface.  The  mouldings  above  the  plinth  con- 
tinued to  preserve  roughly  the  characteristics  of  the  Attic  base. 
The  lower  torus  was  made,  perhaps,  somewhat  flatter;  the  scotia 
came  to  be  more  and  more  deeply  undercut;  different  variable 
lesser  members  enriched  the  profile  (111.  263). 

The  mouldings  of  the  ribs,  string-courses,  archivolts,  and 
cornices  merely  followed  to  their  logical  conclusion  the  tendencies 
already  manifest  in  the  XII  century.  Everywhere  greater 
refinement  of  profile,  deeper  and  more  skilful  undercutting  was 
introduced,  but  no  radically  new  principles.  The  plate  (111. 
263)  will  give  a  suflScient  idea  of  the  general  character  of  these 
profiles.  Nothing  is  more  exquisite,  more  full  of  delicacy  and 
refinement,  than  Gothic  profiles  at  their  best.  Yet  these  richly 
varied  mouldings  are  all  of  comparatively  simple  design,  for  all 
are  produced  by  various  combinations  of  circles,  though  these 
be  of  many  different  diameters,  and  combined  with  intersec- 
tions, straight  lines,  and  even  flattened  curves.  Only  at  the 
very  end  of  the  Gothic  period,  as  at  St.  Satur  (111.  235),  was 
the  essential  character  of  the  profiles  radically  transformed  by 
the  introduction  of  the  prismatic  moulding  with  its  sharp 
points,  its  subtle  double  curves. 

In  the  XIII  century,  the  Gothic  builders  of  the  He  de  France 
refrained  from  employing  extravagantly  complex  mouldings, 
and  their  profiles  were  always  simple  and  dignified.  As  much 
cannot  be  said,  however,  for  the  Gothic  of  Normandy,  which 
adopted  the  over-ornate  mouldings  of  the  English  school.  Drip 
mouldings  were  introduced  into  the  interior,  and  the  archivolts 
supplied  with  a  fairly  bewildering  array  of  multiple  members. 
In  the  decadent  period  such  over-ornate  profiles  appeared  also 
in  France,  as,  for  example,  at  St.  Satur  (111.  235). 

One  of  the  most  striking  features  of  rayonnant  decoration 

296 


-~---«=.fes^ 


III.  260.  — Albi.     E.xterior 


GABLES 

was  the  use  of  open-work  gables.  The  gables  of  the  porches, 
which  had  from  an  early  date  been  placed  before  the  portals 
to  protect  the  statuary,  were  first  decorated  with  pierced  ro- 
settes —  a-s  at  Amiens  (111.  254)  —  then  filled  with  open-work 
tracery,  analogous  to  that  of  the  windows.  Of  course  such  a 
construction  was  no  protection  against  the  weather;  what  had 
been  originally  a  structural  feature  became  a  purely  fanciful 
decoration.  Yet  some  of  these  open-work  designs  must  un- 
questionably be  ranked  among  the  loveliest  conceptions  of  Gothic 
art.  ^Vith  such  a  wholly  fantastic  composition,  for  example, 
as  the  north  transept  facade  of  Rouen  (111.  '■2^5),  it  is  impossible 
to  find  fault,  although  it  must  be  recognized  that  such  a  viola- 
tion  of  structural  logic  bore  within  itself  the  germs  of  decadence. 

A  similar  perversion  of  structural  logic  was  the  use  of  gables 
to  surmount  internal  arches,  as  in  the  choir  of  Amiens;  and 
hardly  more  defensible  is  the  rayonnant  custom  of  applying 
tracery  to  a  blank  wall  surface  as  pure  decoration.  Such  orna- 
ments, however  full  of  grace  and  beauty  in  themselves,  proclaim 
the  fact  that  Gothic  architecture  even  as  early  as  the  second 
half  of  the  XIII  century  had  begun  little  by  little  to  forsake  those 
principles  of  strict  logic  and  unswerving  allegiance  to  structural 
needs,  that  had  been  the  cause  of  its  rise  and  greatness. 

Although  the  XIII  century  has  left  some  not  inconsiderable 
fragments  of  colored  mural  decoration.-  it  is  well-nigh  impos- 
sible to  know  to  what  extent  polychromy  originally  figured  in 
the  decoration  of  the  Gothic  church.  The  XIII  century  loved 
color  above  aU  else  —  not  faint  delicate  hues,  but  the  deep  rich 
reds,  purples,  and  blues  that  stiU  glow  in  the  stained  glass  win- 
dows. Gold,  silver,  and  gems  were  extensively  used  in  the 
manufacture  of  Gothic  crucifixes,  candelabra,  and  church 
furniture;  the  color  of  rubies  and  sapphires  was  intensely 
admired.  Suger  seems  to  have  taken  an  even  deeper  inter- 
est in  the  gems  of  St.  Denis,^  than  in  the  architecture  of  the 
abbey  church.  This  delight  in  rich  colors  led  the  Gothic  artists 
not  only  to  adorn  their  churches  with  mural  paintings,  but  also 
to  paint  the  capitals,  the  details  of  the  ornament,  and  even  the 
statues.     Of  this  color  decoration  —  which  must  have  been  used 

-  At  Ignol,  Prelv-le-Chetif,  and  Vezot.  -  De  Re.  in  sua  Admin,  jesi.     XXXIII  f . 

297 


GOTHIC   ARCHITECTURE 

very  lavishly  —  there  are  extant  many  indubitable  traces.  The 
range  of  tones  was  large,  but  gold  was  the  color  most  prized 
of  all.  There  is  record  of  a  large  sum  of  money  given  to 
Chartres  cathedral  for  the  purpose  of  gilding  a  certain  statue; 
and  hardly  one  of  the  great  cathedrals  is  without  its  statue  of 
the  Virgin  retaining  even  to-day  the  appellation  of  the  "Vierge 
doree." 

Several  attempts  have  been  made  to  reconstruct  the  orig- 
inal polychromy  of  Gothic  architecture.  Of  these  the  most 
lamentable  was  that  made  by  VioUet-le-Duc,  in  the  Ste.  Chapelle 
of  Paris  —  a  wholly  unsuccessful  undertaking  which  completely 
ruined  one  of  the  masterpieces  of  Gothic  art.  Other  archaeol- 
ogists have  tried  to  restore  on  paper  Gothic  colored  ornament 
from  the  illuminations  of  manuscripts  or  from  stained  glass 
windows.  These  theoretical  restorations,  as  long  as  they  are 
confined  to  books,  are  harmless  enough  exercises,  but  hardly 
of  serious  value.  The  Gothic  colors  have  forever  faded,  and 
all  attempts  to  imagine  what  they  were  like  are  vain.  Of  one 
thing  only  may  we  be  certain.  The  artists  who  were  able  to 
conceive  and  execute  the  Gothic  cathedral  would  never  have 
marred  it  by  the  use  of  such  colors  as  the  modern  restorers  credit 
to  their  invention. 

The  stained  glass  of  the  XIII  century  is  hardly  distinguish- 
able from  that  of  the  transitional  era,  being  characterized  by 
the  same  admirable  principles  of  design,  and  by  the  same  juxta- 
position of  small  pieces  of  glass  and  color.  In  the  ornamental 
patterns  the  same  motives  were  perpetuated  without  alteration, 
and,  strangely  enough,  the  architectural  features  reproduced 
in  the  designs  of  the  XIII  century  show  the  forms  of  tran- 
sitional, rather  than  of  Gothic  architecture.  On  the  whole, 
these  windows  of  the  XIII  century  are  perhaps  slightly  less 
admirable  in  color  than  their  predecessors  of  the  XII  century; 
the  falling-off,  however,  is  so  slight  as  to  be  barely  perceptible 
upon  the  closest  study,  and  such  glorious  designs  as  are  found 
in  the  clearstory  windows  of  Reims,  or  in  the  rose  windows  of 
Paris,  are  unsurpassed  by  the  noblest  productions  of  the  preced- 
ing age.  Medallion  windows  continued  in  favor,  except  in 
the  clearstories  where  the  great  height  of  the  edifice  necessitated 

298 


III.   261.  —  Capital  from  Refectorj',  St.  Martin  des  Champs,  Paris. 
(From  Lenoir) 


III.    262.  —  Capital    from    Refectory,   St.    Martin    tics    Champs,    Paris 
fFrom  LenoirJ 


< 


STAINED    GLASS 

that  the  figures  should  be  made  larger,  in  order  thai  they  miglit 
be  seen  from  below.  The  most  appreciable  change  from  XH 
centurv  work,  however,  lay  rather  in  the  sentiment  and  ico- 
nography of  the  composition.  At  times,  as  in  that  win<::ci'v  ,:,f 
Bourges.  in  which  the  ^  irgin  is  represt-nted  as  fainting  at  the 
foot  of  the  cross,  the  more  sentimental  art  of  the  XTS'  century 
is  distinctly  foreshadowed.  Ordinarily,  however,  the  artists 
continued  to  avoid  the  expression  of  emotion:  they  continued 
to  be  absorbed  in  didactic  dog'ina  and  to  neglect  the  human  or 
dramatic  interpretation. 

At  the  end  of  the  XIII  centurv  the  art  of  stained  srlass 
began  to  dechne.  The  beautiful  simplicity  of  the  early  works 
disappeared,  the  figures  became  over-detailed,  the  ornaments 
more  complex  and  elaborate.  The  leading  was  less  studied; 
the  abundant  use  of  gray  tones  introduced  out  of  motives  of 
economy  spoiled  the  rich  coloring.  Large  figures  came  to 
supplant  medallions  not  only  in  the  clearstories,  but  in  all  the 
windows  tkroughout  the  edifice. 

In  the  XTS'  century  the  art  of  stained  glass  underwent  a 
veritable  transformation.  The  same  natm-alistic  tendencies, 
which  had  altered  so  radically  the  character  of  sculpture  and 
ornament,  became  prominent  also  in  the  design  of  the  windows. 
The  ancient  transparent  mosaics  were  supplanted  by  a  sort  of 
painting  on  glass  which  assumed  evermore  and  more  the  character 
of  a  picture.  ^Miile  medaUion  window;  did  not  entirely  pa,ss 
out  of  use  during  the  XIA'  century,  they  were  employed  in  ever 
decreasing  numbers:  the  artists  preferred  designs  vrith  large 
figures,  as  allowing  a  more  direct  and  naturalistic  representa- 
tion of  the  human  form.  The  use  of  shades  and  shadow;,  un- 
known in  the  XIII  century,  was  introduced. — timidly  at  first, 
but  ever  more  boldly.  The  drawing  on  the  glass  became  much, 
more  detailed,  much  more  elaborate:  relief  and  expression  were 
obtained  by  various  tricks  and  mannerisms  of  techniciue.  To 
the  simple  primaiy  colors  which  had  formed  the  repertoire  of 
the  XIII  centuiy  were  added  a  whole  range  of  dehcate  half 
tones,  unusual  tints;  the  deep  blues,  the  simple  greens  and 
yellows,  the  blazing  reds  of  the  earlier  age  were  replaced  by 
magentas,  faint  tones  of  old  rose  and  safi'ron  that  would  ravish 

•29'9 


GOTHIC   ARCHITECTURE 

the  eye  of  a  modern  glass-maker.  The  major  mode  of  color 
was  replaced  by  the  minor  mode.  In  the  design  itself  the  back- 
grounds, consisting  of  architectural  niches  or  realistic  landscapes, 
came  to  occupy  more  and  more  prominent  positions  and  to  be 
treated  in  an  ever  increasingly  naturalistic  manner. 

This  evolution,  which  was  in  progress  during  the  entire 
XIV  century,  reached  its  culmination  by  the  year  1400.  The 
windows  of  the  Ste.  Chapelle  of  Bourges,'  dating  from  the  first 
years  of  the  XV  century,  show  that  by  this  time  the  transforma- 
tion had  been  completed  (111.  264)  and  that  the  Gothic  blue 
and  red  color  scheme  had  been  entirely  abandoned.  The  fig- 
ures of  these  windows  of  Bourges  are  large,  realistic,  well-drawn. 
The  pieces  of  glass  are  of  large  size ;  no  attempt  is  made  to  blend 
the  colors  into  a  mosaic  of  small  pieces.  Architectural  acces- 
sories are  very  prominent  in  the  composition:  vaults,  traceried 
windows,  gables,  balustrades,  adorn  the  canopies  in  which 
stand  the  carefully  detailed  figures.  The  leading  is  concealed 
as  much  as  possible.  In  fact,  this  glass  of  the  end  of  the  Gothic 
period  is  distinguishable  from  that  of  the  flamboyant  era  only 
by  the  disposition  of  the  figures,  which  are  placed  in  niches, 
instead  of  being  arranged  in  dramatic  groups,  and  by  the  colors, 
which  are  richer,  less  brilliant,  less  hard  than  those  of  the  half- 
Renaissance  glass  of  the  XVI  century. 

If  stained  glass  reached  its  zenith  in  the  XII  century,  sculp- 
ture matured  only  in  the  Gothic  period.  However  much  we 
may  admire  the  sentiment  and  architectural  character  of  the 
figures  of  the  west  portal  of  Chartres,  the  XII  century  idea  of 
treating  the  human  form  as  an  ornamental  motive  whose  pro- 
portions, like  those  of  the  acanthus-leaf  or  rinceau,  might  be 
varied  or  distorted  at  will  to  suit  architectural  conditions,  is 
so  far  removed  from  present-day  standards,  that  the  average 
spectator  will  turn  with  relief  to  the  more  naturalistic  represen- 
tations of  the  XIII  century.  The  realistic  tendencies  of  this 
period,  carried  to  excess  in  the  XIV  century,  were  destined  in 
the  end  to  be  the  undoing  of  Gothic  sculpture,  as  they  had  been 
the  undoing  of  Gothic  ornament  and  stained  glass,  but  in  the 
early  Gothic  period  they  had  not  yet  acquired  undue  prominence. 

'  Now  preserved  in  the  crypt  of  the  cathedral. 
300 


III.  264.  —  Stained  Glass  Windows  of  the  Ste.  Chapelle  of  Bourges,  now  in  the  Crypt  of  the 
Cathedral.      (From  Meloizes) 


SCULPTURE 

The  perfect  adjustment  between  the  rival  forces  of  convention 
and  nature  was  perhaps  found  in  the  sculptures  of  the  fa9ade  of 
Amiens.  These  figures,  although  executed  with  a  freedom 
sufficient  to  allow  the  sculptor  to  achieve  the  utmost  possibil- 
ities of  his  art,  are  still  strictly  architectural  in  character  (111. 
265,  266). 

The  technique  of  the  statues  of  the  XIII  century  is  usually 
excellent.  The  best  of  the  figures  of  Amiens  show  correct  pro- 
portions and  an  anatomy  which,  if  never  impeccable,  is  at  least 
only  rarely  disquieting  (111.  266).  The  deeply  undercut  dra- 
pery no  longer  falls  in  purely  conventional  lines,  but  is  evidently 
studied  from  nature,  although  it  is  not  precisely  realistic  in  char- 
acter, a  certain  amount  of  conventionalization  being  retained. 
Thus  the  drapery  of  the  figures  of  Amiens  still  accentuates 
strongly  the  vertical  lines.  The  figures  themselves  also  stand 
in  symmetrical  attitudes.  The  personages  represented  on  the 
jambs  always  hold  themselves  rigidly  upright;  there  is  never 
any  leaning  to  one  side,  any  lateral  motion  of  the  hips;  the  weight 
is  always  evenly  distributed  on  both  feet.  The  arms,  however, 
move  freely  and  gracefully.  In  such  details  as  the  treatment 
of  the  hair,  the  sculptors  show  perfect  mastery  of  the  technique 
of  undercutting,  and  not  seldom  careful  study  of  antique  models. 

In  the  expression  of  the  faces,  it  was  perhaps  impossible 
for  the  Gothic  sculptors  to  do  more  than  the  XII  century  had 
already  done.  The  same  celestial  gentleness,  the  same  Chris- 
tian joy,  the  same  happy  serenity,  characterizes  the  sculptures 
of  the  two  epochs.  The  figures  grouped  on  the  main  portal  of 
Amiens  all  partake  of  the  dignity,  of  the  kindliness  of  the  cen- 
tral figure  of  the  Beau  Dieu  (111.  266).  Yet  the  statues  of 
Amiens  are  more  sharply  individualized  than  those  of  Chartres. 
For  example,  the  remarkable  figure  of  St.  Dominic  (the  second 
from  the  left.  111.  265)  was  certainly  studied  from  nature  and 
is  full  of  character.  Elsewhere  on  this  same  fa9ade  the  warrior 
courage  of  St.  George,  who  faces  death  to  conquer  it,  is  con- 
trasted with  the  meek  resignation  of  St.  Stephen,  who  awaits 
his  end  without  flinching;  the  scholar  and  erudite  St.  Jerome, 
lost  in  mystic  contemplation,  is  distinguished  from  the  benig- 
nant and  practical  St.  Martin,  the  good  shepherd  to  his  flock. 

301 


GOTHIC   ARCHITECTURE 

Nevertheless  no  distinct"  attempt  at  portraiture  was  made  be- 
fore the  end  of  the  XIII  century;  the  expression  characterizes 
rather  the  types  of  mind  that  the  various  saints  symbolize,  than 
their  individual  personalities.  The  sculptors  aim,  not  to  rep- 
resent the  saints  as  they  actually  appeared,  but  to  suggest  the 
various  types  of  character  which  might  attain  salvation. 

^^^lile  the  Gothic  sculptors  were  capable  of  producing  works  of 
the  highest  merit,  they  occasionally  fell  far  below  this  standard. 
Many  of  their  figures,  whether  judged  from  the  standpoint  of 
technique  or  of  sentiment,  are  decidedly  inferior.  Compare,  for 
example,  the  statue  of  St.  Warlus  (fifth  from  the  left-hand  edge, 
111.  265)  with  that  of  St.  Dominic.  It  should  in  justice  be  said, 
however,  that  the  Gothic  artists  seldom  perpetrated  anything  so 
bad  as  this  figure  of  St.  Warlus,  and  the  general  average  of 
Gothic  sculpture  is  remarkably  high. 

The  sculptures  in  relief  of  the  best  period  show  tendencies 
similar  to  those  which  characterized  compositions  in  the  round. 
The  individual  figure  the  Gothic  sculptors  in  relief  emanci- 
pated from  the  architectural  trammels  that  had  governed  the 
proportions  and  anatomy  of  the  reliefs  in  the  tympanums  of 
Chartres,  for  they  seem  to  have  felt  that  by  making  the  figures 
sufficiently  small  they  could  be  given  easy  and  varied  postures 
without  disturbing  the  architectural  character  of  the  composi- 
tion. Action  was,  accordingly,  constantly  represented,  although 
violent  motion  was  avoided.  The  Gothic  sculptors  were  suc- 
cessful above  all  in  the  filling  of  the  enormously  difficult  fields 
allotted  to  them.  Nothing  could  be  more  awkward  or  embar- 
rassing from  a  plastic  point  of  view  than  to  design  a  composi- 
tion to  fill  the  quatrefoils  of  which  the  Gothic  builders  were  so 
fond;  yet  this  task  the  sculptors  accomplished,  often  with  entire 
success,  filling  these  difficult  spaces  with  charming  genre  scenes, 
veritable  little  masterpieces  in  their  way  (111.  265).  However, 
the  lofty  and  narrow  pointed  tympanums  of  the  portals  it  was 
found  necessary  to  divide  into  horizontal  zones.  Since  the 
resulting  horizontal  lines  did  not  harmonize  well  with  the  sur- 
rounding architecture,  in  the  best  period  the  artists  seldom 
allowed  themselves  more  than  three  divisions;  later,  however, 
when  sculpture  came  to  free  itself  from  architectural  trammels, 

302 


III.  -265.  —  Sculptures.     Porte  St.  Finuin,  Aroiens 


III.  266.  —  Le  Beau  Dieu  of  Amiens 


RAYONxXANT   SCULPTURE 

this  number  was  increased  to  five  or  even  seven.  The  skilful 
manner  in  which  the  early  artists  composed  so  difficult  a  field 
with  so  few  subdivisions,  is  worthy  of  all  admiration  (111.  267). 

In  the  second  half  of  the  XIII  century,  Gothic  sculpture 
became  more  realistic  in  character.  The  figures  of  the  fa9ade 
of  Reims  are  as  nearly  perfect  technically  as  any  which  the 
Middle  Ages  produced,  but  they  are  distinctly  less  architectural 
than  those  of  the  fa9ade  of  Amiens.  The  great  figures  of  the 
jambs  are  no  longer  arranged  in  rigid  rows  strictly  subordinated 
to  the  vertical  lines  of  the  edifice,  but  are  broken  up  into  groups 
of  two  or  three  statues  portraying  persons  engaged  in  conversa- 
tion with  each  other,  or  even  in  action.  Thus  the  visitation 
is  represented  by  two  perfectly  delightful  figures,  Mary  and 
Elizabeth,  who  stand  talking  together  in  the  most  easy  and 
natural  manner.  Except  for  the  sublimely  beautiful  face  of 
Mary,  this  group  is  hardly  idealized  at  all.  The  draperies^ 
which  are  far  richer  than  in  the  early  Gothic  period,  fall  in  such 
soft  clinging  folds  as  to  recall  the  Greek  draperies  of  the  V  cen- 
tury. The  folds  of  the  garments  are  elaborate  and  minute  j 
all  attempt  to  accentuate  their  vertical  lines  has  been  aban- 
doned. Similarly  the  posture  of  the  figures  has  become  freer  j 
the  weight  is  no  longer  distributed  evenly  on  both  feet,  but  one 
knee  is  usually  bent,  and  the  body,  instead  of  holding  itself 
rigidly  upright,  leans  or  bends  to  one  side  or  the  other.  The 
faces,  like  the  entire  figure,  have  lost  their  heroic  cast,  and 
have  become  soft  and  tender.  The  growing  love  of  realism 
had  led  the  artists  to  abandon  all  effort  to  represent  their  saints 
as  superior  to  human  beings   (111.  268). 

Thus  even  in  such  exquisite  compositions  as  the  sculptures 
of  the  fa9ade  of  Reims  or  of  the  south  transept  portal  of  Amiens, 
we  feel  that  we  are  face  to  face  with  the  first  signs  of  decadence. 
The  idealism  and  the  architectural  character  which  had  given 
early  Gothic  sculpture  its  inimitable  character  have  begun  to 
yield  to  realism.  It  was  only  a  question  of  time  before  the 
sublime  Beau  Dieu  of  Amiens  should  be  transformed  into  a 
commonplace  French  bourgeois.  Yet  the  first  step  in  this 
descent  to  Avernus  was  full  of  seductive  charm. 

In  the  XIV  century  the  decline  was  in  full  progress.     Al- 

303 


GOTHIC    MONUMENTS 

though  but  few  examples  of  sculpture  dating  from  this  unhappy 
period  have  come  down  to  us,  it  is  evident  that  the  art  was 
rapidly  losing  its  architectural  character  and  becoming  ever 
more  realistic,  ever  less  ideal,  ever  softer.  The  sculptors  came 
to  be  interested  above  all  in  the  dramatic  presentation  of  their 
subjects,  and  sacrificed  the  architectural  lines  to  obtain  suit- 
able spaces  for  the  display  of  sculptured  narrative.  At  length 
sculpture  rebelled  absolutely  against  the  restrictions  of  archi- 
tectural art,  and  at  the  end  of  the  Gothic  period  it  was  evident 
that  the  day  when  the  two  must  forever  part  company  was  not 
far  distant. 

LIST   OF   GOTHIC   MONUMENTS 

MOXITJIEXTS    OF    THE    FiR-ST    ClASS 

AMIENS,  Somme.  liglise  Calhedrale  Notre  Dame.  (lU.  219,  234,  236,  250. 
253,  254,  265,  266,  289.)  The  most  important  documentary  evidence  for  the  date 
of  Amiens  is  the  inscription  that  was  formerly  placed  in  the  lab}Tinth  of  the  pave- 
ment. This  inscription,  preserved  in  several  ancient  documents,  may  be  translated 
as  follows :  "  In  the  year  of  grace  1220  this  work  was  first  begun.  Evrard  of  blessed 
memory  was  then  bishop  of  this  diocese  and  Louis,  son  of  Philippe  the  Wise  [i.e., 
Philippe-.\uguste]  was  king  of  France.  (Sic.)  He  who  was  master  builder  was 
called  Master  Robert  and  surnamed  de  Lusarches.  Master  Thomas  de  Cormont 
succeec^ed  him,  and  afterwards  his  son  Master  Regnault,  who  caused  this  inscrip- 
tion to  be  here  placed  in  the  year  1288."'  The  only  other  evidence  for  the  date  of 
the  commencement  of  the  cathedral  is  another  inscription  placed  over  the  Portail 
de  la  Vierge  Doree,  but  this,  unfortunately,   seems  never  to  have  been  copied  until 

'  Memore  quant  leu\Te  de  I'eglise  de  cheens  fu  commenchie  et  si  comme  il  est  escript  el 
moilon  de  le  maison  Dedalus : 

En  Ian  de  grace  mil  W^ 
Et  .\x  fu  leu\Te  de  cheens 
Premierement  encommenchie. 
Adonc  yert  de  cheste  evesquie 
E\Tart  evesques  benis 
Et  roy  de  France  Loys 
Qui  fu  filz  Phelippe  le  sage. 
Cliil  qui  maistre  yert  de  roeuvre 
Maistre  Robert  estoit  nommes 
Et  de  Lusarches  surnommes 
Maistre  Thomas  fu  apres  luy 
De  Cormont  et  apres 
Ses  filz  maistre  Regnault  qui  mettre 
Fist  a  chest  point  chy  ceste  lettre 
Que  lincarnacion  valoit 
XIIIc  ans  Xn  en  faloit. 
Arch,  de  la  Somme,  Chapit.  d'Am.,  Reg.  aitx  Distrib.  II.,  fol.  247,  cit.  Durand  I,  23. 

304 


111.  268.  —  Reims.      Statues  of  South  Jamb  of  Central  Portal 


MONUMENTS   OF  THE   FIRST   CLASS 

it  had  become  too  effaced  to  be  legible,  and  it  has  now  been  restored  in  such  a  fashion 
that  it  is  impossible  to  trace  the  original  characters.  It  seems,  however,  to  confirm 
the  first  in  that  the  words  Robert  and  the  date  1220  have  been  made  out.  From  the 
style  of  the  architecture  it  is  clear  that  the  construction  began  with  the  nave.  Work 
must  have  progressed  rapidly,  for  in  1228  this  portion  of  the  building  had  been  com- 
pleted as  far  as  the  clearstory  level,  and  in  1236  the  vault  had  been  finished  and  the 
fa9ade  constructed  up  to  the  height  of  the  string-course  just  above  the  rose  window. 
The  choir  was  commenced  without  delay;  in  1240  the  ambulatory  chapels  were 
finished;  in  1247  the  chevet  had  been  completed  as  far  as  the  triforium  string-course. 
From  1247-57,  however,  ensued  a  period  of  inactivity  during  which  little  progress 
seems  to  have  been  made.  In  1258  the  cathedral  suffered  from  a  fire,  traces  of  which 
could  until  recently  be  seen  in  the  chapels  of  the  chevet.  It  was  only  after  this  fire 
that  the  upper  part  of  the  choir  was  erected;  however,  these  portions  seem  to  have 
been  begun  immediately  after  1258,  and  in  all  probability  the  chevet  was  practically 
finished  by  1279,  for  it  is  known  that  at  this  date  the  relics  were  translated  into  the 
new  sanctuary  with  much  pomp.  The  first  nave  chapel  —  that  of  Ste.  Marguerite, 
the  easternmost  on  the  south  side  —  was  added  as  early  as  1292;  the  corresponding 
chapel  on  the  north  side  is  but  little  later.  The  remaining  chapels  were  added  sub- 
sequently at  various  times  during  the  XFV  century,  until  the  row  was  completed  by 
the  erection  of  the  two  western  ones  in  1375.  There  is  no  documentary  evidence 
for  the  dates  of  the  construction  of  the  upper  portions  of  the  two  transept  fa9ades, 
but  the  southern,  with  the  exception  of  its  rose  window,  may  be  assigned  to  the 
very  end  of  the  XIII,  or  first  years  of  the  XIV,  century;  the  northern  must  be 
somewhat  later.  In  1366  work  on  the  southwestern  tower  was  resumed  at  the 
cornice  which  crowns  the  rose  window,  and  the  structure  was  soon  carried  to  com- 
pletion; the  northwestern  tower  was  not  finished  until  1401  or  1402.  The  upper 
gallery  connecting  the  two  towers  was  originally  constructed  about  this  same  time 
(1402),  but  it  was  completely  transformed  in  the  XIX  century  by  Viollet-le-Duc. 
The  nave  of  Amiens,  as  it  stands  to-day,  is  the  most  beautiful,  as  it  is  certainly 
the  most  typical  example  of  French  Gothic  architecture,  and  it  is  hardly  too  much 
to  say  that  for  inspiration  of  conception,  for  perfection  of  proportion,  and  for  purity 
of  detail  it  is  equaled  by  no  other  edifice  ever  erected  by  the  hand  of  man.  In 
actual  dimensions  the  height  of  this  nave  is  surpassed,  among  all  the  medieval 
churches,  by  Beauvais  alone.     (Durand;   Von  Bezold.) 

PARIS,  Seine.  Eglise  Cathedrale  Notre  Dame.  (111.  223,  226,  227,  241,  258.) 
The  first  stone  of  the  existing  edifice  was  laid  in  1163  by  Pope  Alexander  III,  during 
the  episcopacy  of  Maurice  of  Sully  (1160-96).  "In  the  year  of  our  Lord  1177.  Mau- 
rice has  already  long  been  bishop  of  Paris,  and  has  much  labored  and  persevered 
in  the  construction  of  the  church  of  the  said  city,  the  choir  of  which  is  now  finished, 
with  the  exception  of  the  great  vault.  If  this  be  completed,  there  will  be  this  side  of 
the  mountains   no  other  work  which  can  be  compared  with  it."'  —  "In  1182  the 

'  An.  dni.  1177.  Mauricius  eps  Parisien  iam  diu  est  q  multu  laborat  et  pfecit  in  aedifica- 
tioiie  eeclesie  pdicte  ciuitatis:  cuius  caput  iam  pfectu  est,  excepto  maiori  tectorio  q3  opus  si 
pfectu  fuerit,  no  erit  opus  citra  montes  cui  apte  debeat  copari.  —  Sigeberti,  Cronicon,  p.  147, 
cit.  Inkersley. 

305 


GOTHIC   MONUMENTS 

legate  Henry,  aided  by  the  bishop  Maurice,  consecrated  the  altar  of  Notre  Dame."  ' 
Three  years  later  (1185)  the  legate  officiated  in  the  choir  which  consequently  must 
have  been  finished.  At  the  death  of  Maurice  in  1196  it  is  probable  that  the  nave 
was  also  nearly  completed.  In  1210  the  fa9ade  was  commenced  with  the  north  por- 
tal (the  Portail  de  la  Vierge) ;  part  of  the  sculpture  of  an  older  edifice  was  incorporated 
in  the  Porte  Ste.  Anne.  By  1223  the  fa9ade  had  been  built  up  to  the  height  of  the  open- 
work gallery  uniting  the  two  towers;  it  was  entirely  finished  in  1235.  Between  1235 
and  1240  the  cathedral  suffered  from  a  severe  fire  which  necessitated  very  extensive 
restorations.  Advantage  was  taken  of  this  opportunity  to  increase  the  size  of  the 
clearstory  windows  by  suppressing  the  second  triforium  of  oculi  and  to  alter  the  fly- 
ing buttresses.  The  original  flying  buttresses  had  consisted  of  two  flights  of  double 
struts;  —  that  is,  the  piers  which  divide  the  double  aisles  had  been  carried  up  through 
the  roof  so  as  to  form  buttresses  to  the  vaulted  triforium  gallery,  and,  rising  above 
the  roof  of  this  gallery,  they  had  been  reinforced  by  the  double  flying  buttresses  span- 
ning the  outer  aisle  and  in  turn  had  reinforced  another  pair  of  struts  spanning  the 
triforium  gallery,  and  abutting  the  clearstory  walls.  The  lower  strut  of  the  outer 
flight  appeared  above  the  aisle  roof,  but  the  lower  strut  of  the  inner  flight  was  con- 
cealed beneath  the  roof  of  the  triforium.  The  reconstructed  flying  buttresses,  which 
stiU  exist,  clear  both  aisles  in  a  single  flight.  The  original  design  of  the  interior  of 
the  nave  with  its  triforium  of  cusped  oculi  may  still  be  seen  in  the  bay  adjoining  the 
transepts,  where  owing  to  the  powerful  thrusts  exerted  by  the  vaults  of  the  crossing, 
it  was  deemed  unsafe  to  remodel  the  clearstory.  Between  1245  and  1250  the  con- 
struction of  the  lateral  chapels  of  the  nave  was  begun,  chapels  which  seriously  mar 
the  external  effect  of  the  church  by  concealing  the  salient  buttresses.  When  the 
chapels  adjoining  the  transepts  had  been  erected  it  was  found  that  the  facades  of 
the  latter,  which  up  to  this  time  had  projected  very  slightly  from  the  wall  line,  were 
outreached  by  the  chapel.  To  remedy  the  resulting  incongruity  the  old  fa9ades  were 
demolished  and  the  transepts  prolonged;  at  the  same  time  the  Porte  Rouge  and  the 
chapels  of  the  choir  nearest  the  transepts  were  added.  In  1296  the  chapels  of  the  am- 
bulatory were  begun.  —  Paris  is  the  earhest  of  the  great  Gothic  cathedrals  —  a  fact 
reflected  in  several  imperfections  of  adjustment  which  show  that  architecture  had 
not  yet  entirely  emerged  from  the  era  of  inexperience  and  experiment.  But  while 
lacking  the  polish  of  Amiens  or  Reims,  this  cathedral  is  unsurpassed  for  purity  of 
detail,  for  vigor  and  virility  of  conception.  In  plan  the  edifice  is  remarkable  for  its 
five  aisles  —  a  disposition  found  in  few  other  French  Gothic  churches.  The  ambu- 
latory was  originaUy  without  radiating  chapels,  and  since  those  which  have  been 
added  are  shallow,  merely  filling  in  the  space  between  the  buttresses,  this  portion  of 
the  plan  differs  as  radically  from  Amiens  or  Chartres  as  it  does  from  Noyon  or  Sens. 
The  church  was  originally  planned  for  a  quadripartite,  not  a  sexpartite  vault;  hence 
the  system  is  ill  adjusted  to  the  existing  vault  ribs.  Curiously  enough,  however, 
the  piers  between  the  side  aisles  are  alternately  heavy  and  light,  the  heavier  ones 
being  surrounded  by  colonnettes.     The  piers  of  the  main  arcade  are  cylindrical  ex- 

'  1182.     Henricus  legatus  altare  sanctae  Mariae  Parisiensis  conseerat  una  cum  Mauritio 
praesule  —  Gall.  Chris.,  Vol.  VU,  col.  78. 

306 


PARIS 

cept  in  the  two  westernmost  bays :  on  the  easternmost  of  these  piers  a  single  colonnette 
is  engaged;  on  the  westernmost,  four.  The  fa9ade,  as  a  whole,  is  perhaps  the  most 
impressive  produced  by  Gothic  art,  though  unfortunately  much  of  the  statuary,  de- 
stroyed in  the  Revolution,  has  had  to  be  replaced  by  modern  imitations.  (Viollet-le- 
Duc;  Bauchal.) 

Ste.  Cliapelle.  "On  April  25,  1248,  this  church  was  dedicated  by  the  venerable 
Odo,  bishop  of  Tours,  in  honor  of  the  holy  crown  of  thorns  of  our  Lord  and  the  life- 
giving  cross."'  This  lost  inscription  preserved  in  "Gallia  Christiana"  establishes 
the  date  of  the  consecration  of  the  edifice  which  was  probably  begun  in  1245.^  Two 
chapels  were  placed  one  directly  above  the  other :  the  lower,  designed  for  the  retainers 
of  the  king,  had  a  nave  and  tn'o  very  narrow  side  aisles;  the  upper  consisted  of  a 
single  aisle  with  a  polygonal  apse.  The  walls  were  formed  of  a  blazing  mass  of  glass, 
—  in  fact  the  whole  construction,  which  has  not  inaptly  been  described  as  a  vast  jewel 
case  to  hold  the  relics  acquired  by  St.  Louis,  was  undoubtedlj'  one  of  the  chefs-d'oeuvre 
of  Gothic  art.  The  Ste.  Chapelle,  however,  underwent  the  heavy  fate  of  falling  into 
the  hands  of  Viollet-le-Duc  for  restoration,  with  the  result  that  it  retains  to-day 
neither  its  original  beauty  nor  its  archaeological  interest.  'N^Tiatever  may  be  thought 
of  the  artistic  value  of  the  existing  edifice  as  a  modern  experiment  in  polychromy,  it 
must  be  admitted  that  it  has  been  somewhat  too  dearly  bought  by  the  destruction  of 
one  of  the  finest  achievements  of  medieval  design. 

St.  Germain-V Auxerrois.  This  monument,  although  it  has  suffered  severely 
from  restorations,  which  affected  especially  its  statuary,  still  remains  a  fine  example 
of  several  of  the  medieval  styles:  the  fine  tower  is  of  the  XII  century:  the  main 
portal,  the  choir,  and  the  apse  are  of  the  XIII  century;  the  western  porch  is  said 
to  date  from  1435;  the  transepts  with  their  remarkable  portals  are  of  about  the 
same  time;  and  the  greater  part  of  the  fa9ade,  the  nave,  the  side  aisles,  and  the 
chapels  of  the  chevet  are  flamboyant.  The  dimensions  are  large.  There  is  a  com- 
plete set  of  lateral  chapels  and  a  single  side  aisle.     (Beale.) 

St.  Severin  consists  of  a  nave,  double  side  aisles,  a  complete  set  of  chapels,  a  chevet, 
and  a  double  ambulatory.  Like  St.  Germain -1' Auxerrois,  the  church  is  a  patchwork 
of  many  different  constructions.  The  portal  of  the  west  fa9ade  formerly  belonged 
to  the  church  of  St.  Pierre-aux-Boeufs,  but  was  set  up  in  its  present  position  in  1837. 
The  three  western  bays  of  the  nave,  an  exquisite  design  of  the  first  quarter  of  the  XIII 
century,  are  supplied  with  round  piers,  simply  moulded  archivolts  of  a  single  order, 
quadripartite  vaults  whose  ribs  rest  on  three  shafts  springing  from  the  abaci  of  the 
piers,  a  triforium,  and  a  clearstory  with  simple  tracery.  With  the  exception  of  the 
chevet  rebuilt  in  1684  the  remainder  of  the  edifice  is  of  the  flamboyant  period,  and 
is  characterized  by  disappearing  mouldings,  pendants,  and  bizarre  tracery.  (Hess- 
ling,  31.) 

St.  Julien-le-Pauvre.     This  interesting  little  church,  erected  at  the  end  of  the  XII 

1  Anno  Domini  1248,  VU  Cal.  Mai.  dedicata  est  ecclesia  ista  a  venerabili  patre  Odone  Tus- 
culanensi  episcopo  in  honore  sacro  sanctae  coronae  epineae  Domini  et  vivificae  crucis.  —  Gall. 
Chris.  Vn,  col.  239. 

2 1241  according  to  Dubois,  Hist.  Eccl.  Parisis,  Lib.  XV,  Cap.  IV,  p.  356. 

307 


GOTHIC   MONUMENTS 

century,  was  unfortunately  disfigured  in  1635.  Originally,  the  edifice  consisted  of 
a  nave  eight  bays  long,  two  side  aisles,  and  three  apses.  The  vault  was  probably 
quadripartite,  except  iu  the  two  eastern  bays,  where  the  alternate  system  which  sur- 
vives indicates  a  sexpartite  vault;  the  western  bays,  however,  have  been  so  much 
altered  that  it  is  impossible  to  determine  with  certainty  the  ancient  dispositions.  The 
system  seems  to  have  been  logical.  Triforium  and  flying  buttresses  were  omitted, 
but  a  clearstory  existed.  The  details,  especially  the  capitals,  are  of  surpassing  beauty. 
(Hessling;  Lenoir;  Gonse.) 

St.  Leu  et  St.  Gilles  was  erected  in  the  XIV  century,  but  the  choir  and  the  apse 
were  reconstructed  in  1611-20  and  again  in  1865.  The  fa9ade  was  entirely  disfig- 
ured in  the  XVII  century. 

Abbai/e  Ste.  Genevieve.  The  tower,  which  formerly  stood  to  the  south  of  the 
church,  survives,  and  may  be  assigned  to  c.  1200.     (Lenoir.) 

REIMS,  Marne.  Eglise  Metropoliiaine  Notre  Dame.  (III.  224,  230,  237,  251, 
268.)  The  oldest  part  of  the  existing  edifice  is  the  arch  to  the  right  of  the  central 
portal  of  the  north  transept  facade,  evidently  part  of  an  earlier  edifice,  and  doubtless 
erected  c.  1180  when  tlie  ancient  cathedral  was  made  over.  This  ancient  cathedral 
was  burned  in  1210.'  "In  1211,  on  the  same  day  of  the  year  (that  the  fire  had  taken 
place)  they  commenced  to  build  for  tlie  archbishop  new  walls  upon  foundations  of 
great  width  and  depth."  ^  It  should  be  noticed  that  there  is  no  authority  for  the 
tradition  that  a  consecration  took  place  in  1215,  a  tradition  which,  though  evidently 
erroneous,  has  found  its  way  into  many  of  the  handbooks.  According  to  M.  Demaison 
the  choir  was  not  finislied  until  1241.  Work  on  the  nave  must  have  been  begun  at 
once,  for  the  sketches  of  Villard  de  Honnecourt  prove  that  this  was  well  advanced 
by  the  middle  of  the  century.  The  age  of  the  facade  has  been  much  discussed.  It 
was  formerly  unquestioningly  believed  that  the  dates  1381  engraved  on  the  lower 
string-course  and  1391  cut  upon  the  face  of  the  tower  at  the  height  of  the  gallery  of 
the  kings  were  authentic  records.  To  reconcile  these  with  the  evidently  earlier  style 
of  the  architecture,  M.  Gonse  and  other  archaeologists  advanced  the  theory  that  the 
facade  had  been  moved  forward  several  bays  and  reconstructed  stone  for  stone  in  the 
late  XIV  century.  These  descriptions  have  recenth',  however,  been  shown  by  M. 
Demaison  to  be  totally  without  authenticity,  and  in  fact  to  be  no  more  ancient  than 
the  XVni  century.  This  archaeologist,  therefore,  assigns  the  lower  half  of  the  facade 
on  its  style  to  the  last  half  of  the  XII  century  (1255-90),  and  believes  that  the  mon- 
ument was  entirely  finished  in  the  course  of  the  XIII  century  with  the  exception  of 
the  western  gable  and  the  towers.  The  latter  were  in  construction  in  1406,  but  were 
still   unfinished   twenty  years   later.     A   fire   which   occurred   in    1481    necessitated 

1  Chronk-le  of  EInon  (Men.  Germ.  Hist.,  Scriptores  V,  p.  16);  Chronicle  of  St.  Nicaise  of 
Reims  {Ibid.,  Ill,  p.  85);  Renier,  a  monk  of  St.  Jacques  of  Lieges  (Ibid.,  XVI,  p.  663);  Anony- 
mous Chronicler  of  Laon  (Recueil  des  Historiens  de  la  France  XVIII,  p.  714).  Asingle  author- 
ity—  Aubri  de  Trois  Fontaines  (Men.  Germ.  Hist.,  Scriptores  XXIII,  p.  892)  — gives  the  date 
1211. 

-  MCCXI.  Eodem  die,  anno  revohito,  parietas  de  novo  super  fundamenta  magne  profun- 
ditatis  et  latetudinis  ceperunt  institui  ex  parte  domini  archiepiscopi.  —  Chronicle  of  St.  Nicaise 
{Hon.  Germ.  Hist.,  Scriptores  XUI,  p.  85.) 

308 


MONUMENTS   OF  THE   FIRST   CLASS 

repairs  that  absorbed  all  the  resources  of  the  chapter,  and  thus  prevented  the  erection 
of  spires.  The  gables  of  the  transepts  were  finished  only  after  this  fire.  The  ground 
plan  of  Reims  is  extremely  massive  as  compared  with  that  of  Amiens,  but  the  upper 
portions,  on  the  contrary,  are  extraordinarily  light  —  a  fact  which  seems  to  show 
that  the  original  design  was  changed  perhaps  for  esthetic  reasons,  or  possibly  because 
the  improved  technique  of  the  second  quarter  of  the  XIII  century  made  it  possible 
to  secure  the  requisite  stability  with  lighter  masonry  than  had  been  deemed  neces- 
sary in  1211.  Externally,  this  cathedral  has  always  been  recognized  as  one  of  the 
supreme  achievements  of  Gothic  art;  the  fa9ade  is  rivaled  only  by  that  of  Paris; 
the  flying  buttresses  are  unequaled.  If  the  interior  yields  slightly  to  Amiens  in  the 
purity  and  perfection  of  its  detail,  compensation  is  to  be  found  in  the  clearstory 
windows  which  retain  the  ancient  class  in  all  its  splendor.  In  statuary  Reims  is 
the  richest  of  all  the  cathedrals,  and  is  said  to  contain  over  two  thousand  separate 
figures.     (Demaison;  Le  Cerf.) 

CHARTRES,  Eure-et-Loire.  ^glise  Cathedrale  Notre  Dame.  (111.  190,  215, 
218,  229,  249,  256.)  The  date  of  the  construction  of  the  west  fa9ade  of  Chartres  is 
one  of  the  most  discussed  and  most  puzzling  of  the  problems  of  medieval  archaeology. 
It  is  known  that  the  old  basilica  of  Fulbert,  finished  in  1028  and  restored  by  Thierri 
after  the  fire  of  1031,  was  burnt  in  1134.  Works  of  reconstruction  were  in  progress 
seven  years  later  (1141),  or  before,  for  the  canon  Salomon,  who  died  in  September  of 
that  year,  is  mentioned  as  having  contributed  towards  the  expenses  of  this,'  but  in 
1144  the  reconstruction  had  not  yet  been  completed  since  it  is  well  established  that 
the  cart  cult  originated  at  Chartres,  "while  the  towers  were  being  built."  ^  By  1150, 
however,  at  least  the  portals  must  have  been  finished,  for  on  January  12th  of  that 
year  Richer,  archdeacon  of  Chateaudun,  who  "adorned  the  entrance  of  this  church 
with  a  statue  of  the  Virgin  Mary  beautifully  painted  with  gold,"  ^  died.  Such  is 
the  slender  documentary  evidence  bearing  upon  the  question.  The  internal  evidence 
of  the  monument  itself  shows  that  the  towers  originally  must  have  stood  in  front  of 
the  fa9ade,  for  the  lateral  faces,  now  inside  the  church,  were  evidently  designed  as 
exterior  walls,  and  show  unmistakable  signs  of  having  stood  exposed  to  the  weather. 
It  is  therefore  necessary  to  conclude  that  the  fa9ade  has  been  moved  forward  from 
behind  the  two  towers  to  a  position  flush  with  their  western  edge.  On  the  basis  of 
these  facts,  and  on  the  style  of  the  various  parts  of  the  western  end  the  history  of  this 
portion  of  the  building  may  be  reconstructed  as  follows.  The  north  tower,  begun 
about  1134,  or  immediately  after  the  fire,  was  built  isolated  before  the  fa9ade.  In 
1144-45  a  new  fa9ade  was  undertaken  to  the  westward  of  the  ancient  one,  the  nave 
being  prolonged  one  or  more  bays.  This  second  fa9ade,  which  is  the  one  we  still 
have,  was  placed  tangent  to  the  eastern  edge  of  the  northern  tower;  the  southern  tower 
was  then  begun,  symmetrically  with  the  northern  one,  and  consequently  also  project- 
ing beyond  the  fa9ade.     By  1150  the  two  towers  had  arrived  at  the  second  story. 

1  GaU.  Chris.  VIII,  col.  1199. 

2  See  te.xt  cited  above,  p.  159. 

^  .  .  .  decoravit  etian  introitum  hujus  ecclesie  imagine  Beate  Marie  auro  decenter  ornata. 
—  Cartid.  Ill,  p.  19. 

309 


GOTHIC   MONUMENTS 

About  1180,  for  some  unknowrt  reason,  it  seems  to  have  been  resolved  to  move  the 
facade  forward  to  its  present  position.  After  this  had  been  done  work  was  resumed 
on  the  southern  tower  which  was  finished  and  crowned  by  its  spire.  This  had  hardly 
been  completed,  however,  when  a  fire  entirely  destro_ved  the  ancient  cathedral  with 
the  exception  of  the  west  end,  portions  of  which  were  preserved  in  the  new  edifice 
immediately  begun:  "In  the  year  1194,  on  the  11th  day  of  June,  the  church  at 
Chartres  was  devastated  by  a  wonderful  and  miserable  fire,  so  that  the  walls  were 
ruined  and  destroyed  and  overthrown  upon  the  ground,  and  it  was  necessary  to 
repair  the  church  from  its  foundations  and  build  a  new  structure."  '  The  construction 
progressed  rapidly  during  the  first  half  of  tlie  XIII  century,  and  the  consecration  was 
celebrated  in  12U0,^  though  the  transepts  and  the  chapel  of  St.  Piat  were  not  finished 
before  the  XIV  century  and  the  northern  spire  was  erected  in  1506-12,  as  is  known 
from  an  inscription.  Beneath  each  of  the  western  towers  is  preserved  a  rib  vault 
of  great  interest;  the  northern,  we  have  seen,  may  be  dated  1134,  the  southern,  1145. 
The  statues  of  the  west  portal  are  the  most  precious  monuments  we  possess  of  the 
sculpture  of  the  XII  century:  they  must  date  certainly  from  earlier  than  1150  and 
probably  from  about  1145.  The  transeptal  portals  are  exquisite  compositions  with 
an  unrivaled  wealth  of  sculpture  and  detail.  In  fact  the  statuary  and  stained  glass 
of  this  cathedral  are  its  greatest  claim  to  fame,  for  internally  the  proportions  are  less 
happy  than  those  of  Amiens  or  Reims,  and  the  choir  was  much  damaged  in  the  Ren- 
aissance. At  Chartres  was  established  for  the  first  time  the  fully  developed  Gothic 
plan  —  a  plan  wliich  was  radically  different  from  any  which  had  been  produced 
before.     (Bulteau;  Lefevre-Pontalis;  Lenore.) 

St.  Pierre.  "In  the  first  week  of  September,  1134,  the  Lord  our  God  punished 
many  sins  by  fire.  For  the  ancient  and  wealthy  cities  Le  Mans  and  Chartres  were 
burned.  ...  At  Chartres  the  abbey  of  St.  Peter  was  destroyed,  and  the  venerable 
monaster}'  of  the  monks  was  wiped  out,  the  cloister  and  the  other  buildings  being 
completely  ruined."'  It  is  safe  to  conjecture  that  the  reconstruction  of  the  abbey 
began  with  the  conventual  buildings,  as  was  almost  the  invariable  rule  in  the  Middle 
Ages.  At  all  events  a  passage  in  Gallia  Christiana  states:  "the  abbot  Fulchery 
(1150-71)  built  the  choir  of  the  church  as  it  is  seen  to-day.  Before  this  Hilduard 
had  undertaken  the  construction  of  the  nave.  Stephen  I  who  became  abbot  in  1172 
adorned  the  church  with  stained  glass  windows,  and  placed  the  hand  of  completion 
upon  it."  *     But  only  six  years  afterwards,  in  1178,  "the  City  of  Chartres  was  burned 

■  Anno  igitiir  ab  incamatione  domini  MC  nonagesimo  quarto,  cum  eeclesia  Carnotensis 
ni  idus  junii  mirabili  et  miserabile  fuisset  incendio  devastata,  ita  ut  conquassatis  et  dissolutis 
postmodum  parietibus  et  in  terrani  prostratis  necessarium  foret  a  fundamentis  reparare  et  novam 
denuo  aedificare  eccelesiam.  —  Mss.  in  Vatican,  published  bv  Bulteau  I,  97. 

2  Gall.  Chris.  Vm,  col.  1160. 

'  1134.  Li  prima  septembris  septimana  Dominus  Deus  noster  multa  per  ignem  peccata 
puniit.  Cenomannis  enim  et  Camotum  antiquae  et  opulentae  urbes  cunsumptae  sunt.  .  .  . 
Camoti  monasterium  S.  Petri  apostoli  combustu  est  et  venerabilis  monachorum  conuentus, 
claustro  cum  reliquiis  officiniis  destructo,  dispersus  est.  —  Order.  Vital.,  Lib.  XIII,  p.  899. 

■*  Fulcherius  1150-71.  Is  basilicam  chorum,  quahs  hodieque  cernitur,  extruxit.  Interea 
vero  basilicae  na\'im  promovebat  Hilduardus.  Stephanus  I  sedabat  anno  1172.  Ecclesiam 
\-itreis  fenestris  omaWt,  eique  sepremam  manum  imposuit.  —  Gall.  Chris.  VIII,  col.  1226. 

310 


MONUMENTS   OF   THE   FIRST   CLASS 

together  with  the  monastery  of  St.  Pierre."  '  The  reconstruction  which  followed 
this  new  disaster  seems  to  have  progressed  very  slowly.  The  existing  edifice  is  of 
three  distinct  epochs.  The  choir  aisles,  which  must  date  from  1150  or  earlier,  show 
that  the  ancient  chevet  was  furnished  with  a  system  precisely  similar  to  that  of  Noyon, 
■with  sexpartite  vaults,  and  with  supports  consisting  of  piers  alternating  with  columns. 
One  bay  of  the  southern  ambulatory  has  a  clumsy  rib  vault:  the  arches  are 
pointed,  the  ribs  straight  in  plan  with  square  unmoulded  profile  reUeved  only  by 
chamfering  on  the  edges.  The  remaining  bays  are  covered  with  groin  vaults, 
supplied  with  transverse  arches  springing  from  capitals  placed  lower  than  those  of 
the  main  arcade.  All  the  arches  are  thus  brought  approximately  to  the  same 
level,  without  stilting.  The  second  period  of  construction  comprises  the  nave,  a 
curious  design  which  exhibits  a  strange  lack  of  uniformity  even  in  apparently 
contemporaneous  parts.  Below  the  triforium  the  two  sides  are  entirely  unsymmet- 
rical.  The  lower  portions  doubtless  date  from  the  end  of  the  XII  century,  but  the 
clearstory  and  the  fine  double  flying  buttresses  seem  to  be  later  than  those  of  the 
cathedral.  The  choir,  also  supphed  with  flying  buttresses,  forms  the  third  and  last 
strata  of  the  construction.     It  is  said  to  have  been  finished  about  1310. 

St.  Andre.  In  1108  this  parish  church  became  the  seat  of  a  monastery,^  but  the 
present  edifice  was  probably  not  erected  before  the  second  quarter  of  the  XII 
century.  Apparently  it  never  contained  any  vaults,  for  there  are  no  buttresses, 
aisle  responds,  or  vaulting  shafts.  The  three  pointed  windows  of  the  fa9ade  are 
probably  an  addition  of  c.  1175.  The  church  is  now  desecrated  and  difiicult  to 
study. 

BEAUVAIS,  Oise.  JEglise  Cathedrale  St.  Pierre.  (111.  227,  231,  240.)  The 
history  of  this  monument  presents  no  diflScuIties.  Begun  in  1225,  the  choir  was  fin- 
ished only  in  1272.  Twelve  years  later,  in  1284,  the  vaults  fell,  and  the  ruin  of  the 
edifice  was  so  complete  that  for  forty  years  the  canons  were  obliged  to  celebrate 
their  ofiices  in  the  Basse  Oeuvre  while  the  necessary  restorations  which  involved  an 
almost  complete  rebuilding  of  the  structure  were  being  executed.  Not  until  1500 
was  work  begun  on  the  transepts;  these  were  finished  in  1548.  Instead  of  proceed- 
ing to  erect  the  nave,  the  canons  now  undertook  to  build  a  tower  153  meters  high  over 
the  crossing;  but  the  piers  of  the  crossing,  lacking  the  abutment  that  the  nave  would 
have  furnished  had  it  existed,  yielded,  and  in  1573  the  whole  tower  came  crashing 
down.  This  unfortunate  history  has  given  the  text  for  much  moralizing  and  much 
sentimentality  on  the  part  of  modern  writers.  There  can,  however,  be  no  doubt 
that,  if  the  cathedral  of  Beauvais  as  designed  in  1225  could  have  been  made  to  stand, 
it  would  have  been  unequaled  among  Gothic  monuments.  Broken  and  mutilated 
torso  as  it  now  remains,  it  still  retains  a  compelling  beauty,  a  power  to  excite  the 
emotions  unsurpassed  by  its  happier  rivals.  As  originally  planned  the  rectangular 
part  of  the  choir  consisted  of  three  bays  of  great  breadth,  with  quadripartite  vaults. 
In  1284  it  was  found  necessary  to  divide  each  of  these  bays  into  two  by  adding  an 

'  An.  dni  1178.  Ciuitas  Camota  cobusta  est  et  monasteriu  beati  Petri  de  VaUe.  —  Sige- 
berti,  Chronicon,  p.  149. 

2  GaU.  Chris.  VIU,  Col.  1212. 

311 


GOTHIC   MONUMENTS 

extra  pier  in  the  center  and  nfaking  the  vault  sexpartite.  Of  the  two  aisles  of  the 
ambulatory,  the  inner  is  loftier  than  the  outer  and  supplied  with  a  clearstory  and 
triforium;  the  outer  is  supplanted  in  the  chevet  by  a  series  of  chapels,  placed,  like 
those  of  Paris,  between  the  buttresses.  The  triforium  is  glazed  and  united  by  con- 
tinuous muUions  into  a  single  composition  with  the  soaring  clearstory.  Externally 
the  superb  flying  buttresses  are  double  in  a  twofold  sense.  The  fayades  of  the  tran- 
septs are  perhaps  the  masterpiece  far  excellance  of  flamboyant  architecture,  but, 
strangely  enough,  the  interior  design  of  this  part  of  the  edifice,  with  its  wavy  mould- 
ings and  debased  detail,  is  exceptionally  poor.     (\'on  Bezold.) 

St.  Barthelemy  contains  some  debris  of  architecture  of  the  XIV  century. 

BOURGES,  Cher.  Eglise  Cathcdrale.  (111.  214,  233,  239,  2-43,  264,  267,  288.) 
There  appears  to  be  no  precise  evidence  for  the  date  at  which  this  cathedral  was 
commenced,  but  the  construction  was  undoubtedly  begun  not  far  from  c.  1195.  The 
crj'pt  was  first  attacked  and  then  the  ambulatory  and  choir.  The  style  of  the  floral 
ornament  leaves  no  doubt  that  the  construction  was  interrupted  after  the  aisles  of 
the  chevet  and  the  east  bay  of  the  choir  had  been  finished;  moreover,  the  passage 
in  the  aisle  triforium  is  blocked  off  at  this  point.     However,  works  were  soon  resumed 

—  probably  c.  1215,  —  and  the  ancient  choir  —  one  double  bay  longer  than  the  pres- 
ent—  was  completed.  Here  occurred  a  much  longer  and  more  serious  delay,  which 
M.  de  Kersers  believes  lasted  for  forty  or  fifty  years.  When  works  were  recom- 
menced, perhaps  c.  1275,  the  character  of  the  design  was  radigally  altered  in  detail, 
though  for  the  sake  of  harmony  the  general  scheme  of  the  first  plan  was  preserved. 
For  the  four  pointed  lancets  of  the  aisle  triforium  in  the  choir,  there  were  substituted 
in  the  western  bays  two  groups  of  two  tref oiled  arches  placed  under  a  single,  relieving 
arch  whose  tympanums  are  all  pierced  with  trefoil  or  quatrefoil  openings.  Further- 
more the  aisle  clearstory  in  the  western  bays  was  given  simple,  but  real,  tracery;  the 
triforium  of  the  nave,  more  acutely  pointed  arches  and  its  tympanums,  quatrefoils; 
and  the  lancets  of  the  nave  clearstory  were  almost  turned  into  tracery,  the  central  one 
being  made  smaller  than  its  mates  (instead  of  larger  as  in  the  choir)  and  being  sur- 
mounted by  larger  circular  windows.  This  nave  could  hardly  have  been  finished 
before  the  XIV  century,  but  as  early  as  1313  it  was  found  necessary  to  reconstruct 
the  vaults.  The  facade  was  completed  by  Duke  John  about  1390.  In  the  existing 
edifice  certain  fragments  of  an  earlier  construction  of  about  the  middle  of  the  XII 
century  survive  —  notably  the  north  and  south  lateral  portals  and  certain  capitals 
of  the  choir.  As  Bourges  stands  to-day  it  is  in  many  ways  unique  among  French 
cathedrals.  There  are  five  aisles,  the  outer  pair  of  different  heights;  there  is  no 
transept;  the  double  ambulatory  has  radiating  chapels  of  little  depth.  The  inner 
aisles  have  clearstory  and  triforium,  so  that  the  composition  is  divided  into  five  stories 

—  an  arrangement  not  altogether  happy.  Unpleasant  too  are  the  curved  ribs  of  the 
ambulatory  vault.  The  nave  vault  is  sexpartite;  the  piers  all  of  similar  section  are 
alternately  heavy  and  hght.  Three  hght  shafts  widely  separated  are  carried  to  the 
ground  in  all  the  piers;  from  the  main  capitals  rise  alternately  three  and  five  shafts. 
The  fl3'ing  buttresses  are  double.  While  Bourges  in  certain  of  its  details  perhaps 
falls  below  its  sister  cathedrals,  it  possesses  a  charm  of  perspective,  a  poetry,  that  at 

312 


MONUMENTS   OF  THE  FIRST  CLASS 

once  place  it  in  the  front  rank  of  Gothic  designs.  And  with  the  single  exception  of 
Chartres,  no  Gothic  church  contains  so  rich  a  treasure  of  stained  glass.  (De  Ker- 
ses  II,  125.) 

St.  Pierre-le-Guillard.  This  edifice  of  the  first  quarter  of  the  XIII  century  con- 
sists of  a  nave,  two  side  aisles,  a  chevet,  an  ambulatory,  and  five  radiating  chapels. 
The  vaults  have  been  remade  in  the  XV  century,  but  it  is  evident  that  the  original 
ones  were  se^q^artite,  and  that  the  intermediate  shafts  were  supported  on  corbels 
placed  exactly  over  the  summits  of  the  arches  of  the  main  arcade.  The  alternate 
systems  are  formed  each  of  a  single  shaft  rising  from  the  ground  to  the  springing  of 
the  vault,  where  the  ribs  are  gathered  on  the  capital.  There  are  no  capitals  at  the 
impost  level.  The  chevet  is  supplied  with  a  fine  set  of  flying  buttresses  with  slight 
pinnacles.     (De  Kersers  II,  194.) 

St.  Fulgent.  The  choir  of  this  church  has  been  destroyed,  but  the  wooden-roofed 
nave  still  survives.     (De  Kersers  II,  209.) 

Notre  Dame-de-Sales.  This  church  of  the  XIV  century,  pillaged  and  burnt  by 
the  Protestants  in  1562,  was  repaired  a  century  later.  Some  parts  of  the  building 
of  the  XIV  century  still  survive.     (De  Kersers  II,  218.) 

Chapelle  St.  George.  A  gable  of  this  chapel  of  the  XIII  century  survives  in  the 
building.  No.  10,  Rue  Trompette.     (De  Kersers  II,  258.) 

LE  MANS,  Sarthe.  Eglise  Cathedrale  St.  Julien.  (111.  221,  247).  "The  most 
holy  body  of  St.  Julien  and  the  relics  of  the  other  saints  were  translated  into  the 
church  on  the  17th  day  of  September,  1093,  in  the  eighth  year  of  the  ordination  of 
that  bishop  [Hoel]  on  the  very  day  that  he  himself  had  planned,  had  God  granted 
him  life,  to  consecrate  the  church."'  The  reconstruction,  whose  completion  is  re- 
corded in  these  words,  affected  only  the  choir,  the  transepts,  and  the  two  easternmost 
bays  of  the  nave.  The  arcades  of  the  latter  as  rebuilt  in  1093  are  stiU  extant.  In 
1110  the  reconstruction  of  the  remainder  of  the  nave  was  begun,  but  the  aisle  walls 
of  the  XI  century  were  preserved;  on  the  25th  of  April,  1120,  the  consecration  of  this 
part  of  the  edifice  was  celebrated.^  However,  "Hildebert,  because  the  works  on  the 
church  had  been  unduly  protracted,  was  anxious  to  see  it  consecrated  in  his  own 
time,  and  accordingly  hastened  the  dedication  beyond  what  was  justified  by  the  ac- 
tual condition  of  the  church,  much  of  which  was  necessarily  still  unfinished."  ^  This 
church  was  ruined  hj  fire  not  long  after,  for  in  Orderic  Vitalis  we  read :  "  In  the  first 
week  of  September,  1134,  the  Lord  our  God  punished  many  sins  by  fire.     Le  Mans 

1  Translatum  est  autem  corpus  sanctissimmn  beati  Juliani  et  ahorum  sanctorum  reliquiae 
in  eamden  basilicam  XVI  Kalendas  Novembris  anno  ab  incarnatione  Domini  millesimo  XCIU; 
ordinationis  autem  ejus  episcopi  VIII,  in  qua  videlicet  die,  si  Deus  sibi  vitam  concederet,  ipsam 
basilicam  statuerat  dedicare.  —  Gesta  Hoelli  (Mabillon,  Vetera  Analecta,  p.  314). 

2  Anno  plane  Domini  millesimo  CXX  in  octobis  Paschae,  die  scilicet  majoris  litaniae,  con- 
secravit  eam  in  honore  et  nomine  sanctae  et  gloriosae  semperque  virginis  Mariae  et  beatorum 
martyrum  Gervasii  et  Protasii  et  piissimi  confessoris  Juliani.  —  Gesta  Hildeberti  (Mabillon, 
Vetera  Analecta,  p.  317). 

^  Hildebertus  autem  opus  ecclesiae  quod  per  longa  tempera  protractum  fuerat,  sue  tempore 
insistens  consummare,  dedicationem  ultra  quam  res  exposcebat  accelerans,  multa  inibi  neeessaria 
inexpleta  praeteriit.  —  Ibid.,  p.  317. 

313 


GOTHIC   MONUMENTS 

and  Chartres,  ancient  and  wealthy  cities,  were  burned.  Also  the  cathedral  church  of 
Le  Mans,  which  was  very  beautiful,  was  destroyed,  but  the  casket  containing  the  body 
of  St.  Julien,  priest  and  confessor,  though  with  much  difficulty  was  safely  carried  to 
the  monastery  of  St.  Vincent  the  jMartjT."  '■  The  restoration  necessitated  by  this 
fire  commenced  with  the  reconstruction  of  the  nave  and  transept.  Since  the  date 
1145  is  inscribed  upon  one  of  the  stones  of  the  upper  part  of  the  crossing,  it  is  probable 
that  this  rebuilding  was  begun  at  least  as  early  as  1137.  Thanks  to  a  skilful  altera- 
tion of  the  lower  parts  of  the  structure,  the  entire  character  of  the  design  was  changed. 
The  nave  walls,  blackened  by  fire,  disappeared  beneath  a  new  coating  of  stone;  a 
vault  was  thrown  across  the  nave;  and  the  transepts  were  entirely  remodeled.  Only 
the  ancient  side  aisles  were  retained  unaltered.  The  consecration  took  place  in  1158; 
from  that  time  to  this  the  nave  has  undergone  no  appreciable  alteration,  though  the 
choir  was  entirely  reconstructed  in  the  Gothic  style  between  1218  and  1254,  the  south- 
ern transept  was  rebuilt  in  1395,  and  the  northern  between  that  time  and  1-130.  As 
the  nave  now  stands  the  system  of  three  shafts  carrying  five  ribs  is  alternate  and 
continuous.  The  pointed  quadripartite  vaults  of  the  nave  are  of  the  Lombard 
t)-pe,  each  bay  of  the  nave  corresponding  to  two  bays  of  the  side  aisles.  The  tri- 
forium  is  formed  of  a  continuous  arcade.  Above  the  pointed  archivolts  of  the  main 
arches  may  be  seen  the  old  archivolts  of  1120,  which  were  evidently  in  two  orders, 
and  rested  on  colunms  without  system.  The  two  easternmost  bays  (of  1093),  on  the 
other  hand,  were  characterized  by  piers  on  each  of  which  were  engaged  two  colon- 
nettes  to  carry  the  extra  order  of  the  archivolts  and  a  shaft  continued  to  form  a  system. 
The  side  aisles  have  groin  vaults  with  transverse  ribs;  their  windows  (of  the  XI  cen- 
tury) are  plain  in  contrast  to  those  of  the  nave  (of  the  XII  century)  which  are  shafted 
and  moulded.  Some  ruins  of  the  north  tower  of  the  XI  century  still  stand.  The 
seven-sided  chevet,  one  of  the  masterpieces  of  Gothic  architecture,  is  supplied  with 
a  double  ambulatory  and  a  complete  set  of  deep  radiating  chapels.  The  supports 
are  of  the  same  number  on  both  sides  of  the  inner  ambulatory,  but  in  the  outer  wall 
the  number  is  doubled,  the  vaulting  compartments  thus  being  made  alternately  rect- 
angular and  triangular  as  at  Aachen.  Like  Bourges  the  inner  aisles  are  higher 
than  the  outer,  but  the  design  is  improved  by  omitting  the  triforium  in  the  nave. 
Externally  the  noble  flying  buttresses  are  unique  in  being  divided  into  two  conver- 
ging flights  over  the  outer  ambulatory.     (Ledru;  Lefe\Te-Pontalis.) 

LAOX,  Aisne.  Eglise  Calhedrale  Nofre  Dame.  (111.  217,  222,  227,  248.)  Two 
consecrations  of  the  cathedral  of  Laon  took  place  during  the  XII  century,  one  in  1114, 
the  other  in  1157.  No  portion  of  the  existing  edifice,  however,  can  be  earlier  than 
c.  1165,  and  strange  as  it  seems  that  a  new  construction  should  have  had  to  be  begun 
so  soon  after  the  dedication  of  1157,  we  are  forced  to  conclude  that  such  a  rebuilding 
must  have  been  necessitated  by  some  fire  or  other  disaster  of  which  no  record  has 
come  down  to  us.     In  the  mart^Tology  of  the  cathedral  it  is  stated  that  Bishop  Gaul- 

1  1134.  In  prima  septembris  septimana  Dominus  Deus  noster  multa  per  ignem  peccata 
puniit.  Cenomannis  enim  et  Camotum,  antiquae  et  opulentae  urbes  comsumptae  sunt.  Tunc 
Cenomannis  episcopalis  basilica,  quae  pulcherrima  erat,  concremata  est,  et  feretmin  sancti  cum 
corpore  Pontificis  et  Confessoris  Jiiliani  difficulter  in  monasterium  Sancti  jNIartyris  Vincentii 
translatima  est.  —  Orderic  Vitalis,  Lib.  XIII,  p.  899. 

314 


MONUMENTS   OF  THE  FIRST  CLASS 

tier  (1155-74)  "gave  to  the  church  of  Laon  two  dorsal  tapestries  on  which  the  twelve 
months  and  the  twelve  signs  (of  the  zodiac)  were  beautifully  embroidered.  And  he 
also  gave  to  the  work  at  Laon  a  hundred  pounds  besides  twenty  pounds  of  good 
money  that  he  had  given  every  year  since  the  commencement  of  that  work."  '  This 
is  the  only  text  which  refers  to  the  construction  of  the  cathedral  in  the  XII  century, 
but  a  notice  of  1205  shows  that  in  the  early  XIII  century  the  edifice  had  not  yet  been 
entirely  finished:  "In  1205  Jean  de  Chermizy,  a  noble,  with  the  consent  of  his  mother 
Gertrude,  gave  in  perpetuity  to  the  church  Notre  Dame  of  Laon,  land  for  quarrying 
and  extracting  stones  for  the  construction  and  chapels  of  the  said  church.  .  .  ."^ 
Moreover,  in  1221,  relics  were  stiU  being  carried  through  the  country  to  raise  funds 
for  the  building,^  and  in  1225  the  side  portal  opposite  the  old  Hotel-Dieu  was  referred 
to  as  the  "new  portal"  —  novo  ostio.*  It  is  therefore  safe  to  conclude  that  the  con- 
struction begun  as  early  as  1165  lasted  until  near  the  end  of  the  first  quarter  of  the 
XIII  century.  The  oldest  portions  of  the  actual  building  are  the  transepts  and  the 
first  three  bays  of  the  choir.  The  first  five  bays  of  the  nave  seem  to  have  been  next 
attacked,  and  then  the  remainder  of  the  nave  and  the  fa9ade,  of  which,  as  is  evident 
from  the  sculptures,  the  southern  portal  is  earlier  than  either  the  central  or  the  north- 
ern. The  cathedral  terminated  originally  in  a  semicircular  chevet  with  ambulatory- 
excavations  executed  in  1857,  the  fact  that  the  bases  of  the  columns  of  the  fourth 
bay  in  the  choir  are  slightly  out  of  line,  and  several  capitals  now  in  the  eastern  bays 
of  the  sanctuary  evidently  having  come  from  the  original  chevet,  leave  no  doubt  on 
this  subject.  Now,  since  the  stone  of  the  eastern  bays  of  the  choir  is  from  the  quar- 
ries of  Chermizy,  which  were  given  to  the  church,  as  has  been  seen,  in  1205,  it  must 
have  been  in  the  XIII  century  that  the  primitive  chevet  was  destroyed,  the  choir  pro- 
longed, and  the  present  square  east  end  erected.  It  is  conjectured  that  this  change 
was  made  for  the  purpose  of  increasing  the  length  of  the  choir,  which  had  doubtless 
been  found  too  small  to  accommodate  the  canons.  The  Chapelle  des  Fonts  on  the 
south  of  the  nave  dates  from  the  beginning  of  the  XIII  century;  the  two  transeptal 
absidioles,  in  several  stories,  which  must  have  been  erected  about  the  same  epoch, 
probably  replaced  the  apsidal  chapels  destroyed  when  the  choir  was  prolonged.  All 
the  other  existing  chapels  are  inserted  between  the  buttresses,  and  were  added  in  the 
late  XIII,  or  the  XIV,  century.  Those  of  the  nave  seem  to  be  somewhat  earlier  than 
those  of  the  choir.  The  transepts  were  altered  in  the  XIV  century,  but  from  the 
beginning  were  supplied  with  side-aisles  —  the  earliest  example  of  this  feature  in  the 
He  de  France  —  and  these  aisles  are  carried  across  the  ends  so  as  to  form  tribunes 
in  quite  the  Norman  manner.     Norman,  too,  is  the  central  lantern  surmounted  by  a 

'  Dedit  ecclesie  Laudunensi  duo  tapeta  dorsalia  in  quibus  xii  menses  et  xii  signa  pulcher- 
rime  sunt  intexta.  Dedit  novissime  open  Laudunensi  centum  libras  prater  vigenti  libras  bone 
monete  quas  eidem  operi  ab  initio  contulerat  annuatim.  —  Matyr.  et  Necrol.,  fo.  168,  II  Id. 
Julii,  cit.  Bouxin,  25. 

2  Johannes  nobilis  vir  de  Chermisi,  dedit  in  eleemosynam  in  perpetuum  ecclesie  Beate 
Marie  Laudunensis,  assensi  Gertrudis  matris  sue,  terram  ad  fodiendum  et  extrahendum  lapides 
ad  opus  et  ofEcinas  ecclesie  supradicti.  .  .  .  anno  Dni  1205.  —  Archiv.  Nat.,  Cart.  L.  731,  cit 
Bouxin,  32. 

3  CaH.  du  Chap.,  fo.  233,  2d  column,  and  fo.  234,  1st  column,  cit.  Bouxin,  33. 
^  Ihid.,  fo.  137,  Al.  Bou.xin,  33. 

315 


GOTHIC   MONUMENTS 

tower.  The  great  glory  of  Labn  is  its  superb  group  of  five  towers  —  an  ensemble 
still  without  rival  among  Gothic  monuments,  although  the  superb  southwestern  spire 
was  unfortunately  destroyed  in  the  Revolution.  Notwithstanding  the  fact  that  the 
vaults  are  sexpartite  throughout  except  in  the  two  western  bays  of  the  nave  where 
the  tower  piers  necessitated  two  quadripartite  vaults,  there  is  no  alternation  of  supports, 
the  piers  being  all  cylindrical,  save  that  in  the  five  eastern  bays  of  the  nave  the  alter- 
nate columns  are  surrounded  each  by  five  colonnettes,  one  supporting  the  system, 
and  the  other  four,  each  one  corner  of  the  abacus.  The  flying  buttresses  are  of  a 
single  strut  and  gabled;  they  also  fail  to  express  the  alternately  heavier  and  lighter 
thrusts  of  tlie  vaults.  The  system  of  alternately  three  and  five  shafts  rises  from  the 
abaci,  which  in  the  intermediate  piers  are  octagonal.  The  gallery  is  surmounted  by 
a  triforium,  the  nave  being  thus  divided  into  four  stories.  The  details  of  the  carving, 
the  capitals,  etc.,  are  among  the  most  exquisite  that  have  come  down  to  us.  Alto- 
gether Laon  resembles  Paris  more  closely  than  any  of  the  other  of  the  French  cathe- 
drals, but  is  of  unique  interest  for  its  towers,  its  square  east  end,  and  its  unrivaled 
detail.     (Bouxin.) 

ROUEN,  Seine-Irferieure.  Eglise  Cathedrale  Noire  Dame.  (111.  225,  269,  274.) 
Of  the  church  which  it  is  known  was  consecrated  in  1003  nothing  remains,  although 
many  portions  of  the  present  edifice  —  the  northwestern  tower  (tour  St.  Romain), 
the  two  chapels  of  the  chevet,  those  of  the  transepts,  portions  of  the  nave,  and  the  tn'o 
doors  of  the  west  fafade  opening  upon  the  side  aisles  —  must  be  earlier  than  the  fire 
of  1200,  which  is  the  next  recorded  event  in  the  histor)'  of  the  cathedral.  Since  a 
letter  of  Bishop  Hugli^  implies  that  in  \\i5  works  were  in  progress  upon  the  cathe- 
dral, we  may  assign  to  approximately  this  date  the  lower  story  of  the  Tour  St.  Ro- 
main and  its  octopartite  rib  vault,  which  is  without  wall  ribs.  Somewhat  later  (c. 
1175)  is  the  upper  story  of  the  tower,  whose  rib  vault  is  not  domed,  and  is  supphed 
with  wall  ribs.  The  portals  seem  to  be  of  about  the  same  time  (c.  1175).  As  for 
the  structure  of  the  XIII  century,  the  history  is  much  less  obscure.  "In  this  year 
[1200]  on  April  10th,  Easter  jMonday,  the  church  of  Rouen  was  entirely  burned  to- 
gether with  all  its  bells,  its  books,  and  its  ornaments;  and  a  great  part  of  the  city  and 
many  other  churches  perished  at  the  same  time."-  Works  of  restoration  seem  to 
have  been  begun  immediately,  for  it  is  certain  that  they  were  in  progress  in  1204,' 
though  it  is  by  no  means  clear  when  the  building  was  completed.  Since,  however, 
important  ceremonies  were  held  in  the  cathedral  in  1223,  and  in  1235  Bishop  Mauri- 
tius was  buried  in  the  choir,  it  is  probable  that  the  edifice  was  practically  finished 
before  the  second  third  of  the  XIII  century.  The  two  transept  fa9ades  date  from 
about  1278;  in  1302  the  foundations  for  the  present  lady  chapel  was  laid;  the 
entrance-way  to  the  "Portail  des  Libraires"  was  erected  c.  1484;  and  the  Tour-de- 
Beurre  was   constructed   in  1487.     The  central  tower  was  rebuilt  in  1514  in  con- 

1  Qted  above,  p.  156. 

-  Hoc  anno  quarto  Idus  Aprilis  in  nocta  Paschae  combusta  est  tota  ecdesia  Rothomagen- 
sis  cum  omnibus  campanis,  libris,  et  omamentis  ecclesiae  et  maxima  pars  civitatis  et  multae 
ecclesiae.  —  Labbe,  Novae  Bibliothecae  I,  p.  370,  cit.  Allinne-Poisel,  66. 

3  See  Deville,  81.  t 

316 


MONUMENTS   OF  THE  FIRST  CLASS 

sequence  of  a  fire,  but  the  iron  spire  with  which  it  is  now  crowned  is  a  monument 
to  the  bad  taste  of  the  XIX  century.  According  to  Dom  Pommeraye  the  existing 
fa9ade  was  erected  in  1509-30.  The  nave  of  Rouen  is  an  archaeological  puzzle. 
The  irregularities  of  the  design,  the  introduction  of  a  false  triforium  —  a  feature 
paralleled  only  in  the  church  of  Eu,  —  the  curious  dispositions  of  the  true  (upper) 
triforium,  and  certain  round  arches  in  the  clearstory  (especially  noticeable  exter- 
nally) can  be  explained  only  on  the  theory  that  certain  portions  of  an  older  edifice 
were  retained  in  the  rebuilding  of  the  XIII  century,  notwithstanding  the  fact  that 
the  details  of  capitals  and  mouldings  are  strikingly  homogeneous.  A  full  system 
of  five  shafts  rises  from  the  ground.  The  choir,  which  seems  to  have  retained 
little  or  nothing  of  XII  century  architecture,  is  of  simpler  design;  it  is  characterized 
by  columnar  supports  and  by  a  system  resting  on  corbels  placed  just  above  the 
abaci;  the  false  triforium  of  the  nave  is  omitted.  The  vaults  throughout  the  church 
are  quadripartite.  From  an  esthetic  standpoint  the  interior  of  Rouen  is  less  satis- 
factory than  that  of  any  of  the  other  great  Gothic  churches.  The  division  into 
four  stories  is  not  happy,  nor  are  the  proportions  harmonious.  The  details, 
although  not  as  extravagant  as  in  many  examples  of  the  Norman  school,  still 
lack  the  purity  of  the  He  de  France;  the  mouldings  of  the  archivolts,  while  they 
do  not  project,  are  over-elaborate;  five  colonnettes  are  engaged  upon  the  main 
piers.  Yet  the  cathedral  is  not  without  its  points  of  great  interest:  the  transept 
fa9ades  are  perhaps  the  finest  examples  of  rayonnant  tracery  that  have  come  down 
to  us;  the  Tour-de-Beurre  and  the  western  facade  are  masterpieces  of  the  flam- 
boyant style;  and  the  chapel  St.  Jean-Baptiste  furnishes  one  of  the  earliest  extant 
examples  of  flamboyant  architecture.     (De  la  Balle;  Allinne-Loisel.) 

Ahhaye  St.  Ouen.  (111.  238.)  Jean  Marcdargent,  abbot  of  St.  Ouen,  commenced 
the  present  edifice  in  1318.  His  epitaph  furnishes  precise  information  on  this  sub- 
ject: "Here  lies  brother  Jean  Marcdargent  or  Roussel,  formerly  abbot  of  this  mon- 
astery, who  commenced  to  build  anew  this  church  and  constructed  the  choir,  the 
chapel,  the  piers  of  the  [central]  tower,  and  a  great  part  of  the  transept  of  the  said 
church."  ^  Since  Jean  Marcdargent  died  in  1339,  the  construction  must  have  ad- 
vanced rapidly.  After  the  first  bay  of  the  nave  had  been  erected,  however,  works  were 
brusquely  interrupted.  Two  more  bays  of  the  nave  were  built  in  1396,  but  then 
ensued  another  long  delay.  The  construction  was  again  resumed  in  1439,  when  the 
rose  windows  of  the  transepts  were  completed.  The  nave  was  finished  by  the  abbot 
Bohier^  (1491-1515),  and  the  lower  parts  of  the  western  facade  with  its  rose  window 
by  the  legate  Cibo  before  1545.  As  originally  planned  this  facade  would  have  been 
flanked  by  twin  western  towers  set  at  an  angle.  These  towers,  however,  remained 
unfinished  until  the  XIX  century,  when  Viollet-le-Duc  erected  the  present  towers 
and  gable  in  direct  contradiction,  not  only  to  all  good  taste,  but  to  the  known  inten- 
tions of  the  medieval  builders.     The  choir  of  St.  Ouen  is  one  of  the  finest  examples 

'  Hie  jacet  frater  Johannes  Marcdargent  alias  Roussel  quondam  abbas  istius  monasterii 
qui  incepit  istam  ecclesiam  aedificare  de  novo  et  fecit  chorum  et  capellas  et  pillaria  turris  et  mag- 
nam  partem  crucis  monasterii  antedicti.  —  Dom  Pommeraye,  cit.  lukersley,  107. 

2  Gall.  Chris.  XI,  col.  153,  154,  cit.  Inkersley,  117. 

317 


GOTHIC    MONUMENTS 

of  pure  rayonnant  design  that  has  come  down  to  us.  Tlie  tracery  is  exquisite;  the 
flying  buttresses  are  double  in  a  twofold  sense  with  finely  developed  pinnacles:  cap- 
itals are  not  altogether  omitted,  but  have  become  much  reduced:  the  system  is  car- 
ried through  from  vault  to  pavement  without  interruption:  the  triforium  is  glazed  and 
united  in  a  single  composition  with  the  clearstory.  With  the  exception  of  the  window 
tracery,  the  nave,  although  over  a  century  later,  is  practically  identical  in  design  with 
the  choir  and  possesses  the  same  refinement  and  delicate  beauty.  The  central  tower 
is  one  of  the  most  exquisite  achievements  of  flamboyant  art.  (De  la  Balle;  Von 
Bezold.) 

COUTAXCES,  Manche.  Kglixc  Cathcdralc.  (111.  '24o,  255.)  Of  the  church 
of  Geoffry,  built  1030-56,  the  towers,  which  like  those  of  Jumieges  had  a  square  base 
and  octagonal  upper  stories,  still  survive,  though  hidden  from  sight,  and  the  entire 
length  of  the  clearstory  gallery  still  exists  almost  intact  in  the  walls  of  the  existing  nave. 
Although  texts  establishing  the  date  of  the  present  structure  are  wanting,  the  style 
of  the  edifice  makes  it  seem  probable  that  the  nave  was  begun  in  1208  by  Bivien  of 
Champagne,  and  completed  with  its  side  aisles  by  the  same  bishop.  Hugh  of  Mor- 
ville  who  succeeded  (li.'lS-^S)  and  his  two  successors  doubtless  built  the  transepts, 
the  lantern,  the  choir,  and  the  double  ambulatory.  Subsequently  the  three  portals 
and  the  lower  parts  of  the  facade  were  erected,  and  Silvestre  de  la  Serville  (i;)71-86) 
is  believed  to  have  completed  the  edifice  by  constructing  the  open-work  gallery  con- 
necting the  two  towers  and  the  six  lateral  chapels  of  the  nave.  The  piers  of  the  chevet 
consist  of  coupled  columns,  as  at  Sens.  The  side  aisles  of  the  nave  are  single,  but  the 
ambulatory  is  double,  the  inner  aisle,  more  lofty  than  the  outer,  being  supplied  with 
triforium  and  clearstory.  Except  in  the  chevet  the  system  of  three  shafts  rises  from 
the  ground,  the  wall  rib,  without  capital,  springing  from  the  clearstory  string.  The 
clearstory  wall  is  far  from  being  eliminated.  The  mouldings  of  the  archivolts  of 
the  main  arches  are  slightly  more  complicated  than  those  of  contemporary  edifices 
in  the  He  de  France,  but  do  not  project:  they  are  carried  on  three  shafts  engaged  on 
the  piers.  Vaults  with  ridge  ribs,  thoroughly  English  in  character,  surmount  the  choir. 
In  the  choir  the  central  aisle  has  no  triforium,  a  simple  balustrade  being  carried  around 
below  the  clearstor\';  but  in  the  nave  a  triforium  exists,  and  this,  as  well  as  the  clear- 
story, is  supplied  with  a  balustrade.  The  lady  chapel  dates  only  from  the  XIV  cen- 
tury. The  facade,  which  must  rank  as  one  of  the  grandest  compositions  of  the  Middle 
Ages,  betrays  the  influence  of  the  local  school  in  its  shafts,  its  lack  of  a  rose  window-, 
and  its  octagonal  towers.  As  the  central  porch  projects  a  considerable  distance, 
it  reaches  beyond  the  buttresses  whose  lower  portions  are  consequently  lost  from 
sight.  The  western  towers  with  their  superb  spires  and  turrets  are  among  the  most 
strongly  individualized  conceptions  of  Gothic  art;  unfortunately  the  octagonal  cen- 
tral lantern  with  its  four  angle  turrets  has  never  received  its  spire.  The  flying  but- 
tresses of  the  chevet,  like  those  of  Paris,  consist  of  a  single  strut  clearing  both  aisles 
in  a  single  flight.     (De  la  Balle.) 

LISIEUX,  Calvados.  Eglise  Catkedrale  St.  Pierre.  Of  the  church,  whose  re- 
construction was  begun  in  1050,  but  which  was  destroyed  in  1136  by  a  fire  that  con- 
sumed the  entire  city,  some  debris  is  preserved  in  the  present  edifice,  commenced 

318 


MONUMENTS   OF  THE  FIRST  CLASS 

by  Bishop  Arnoult  on  his  return  from  the  Holy  Land  (1143).  When  that  bishop  died 
in  1181,  the  nave,  the  two  arms  of  the  transept,  the  lantern,  and  a  large  part  of  the 
main  fa9ade  had  been  constructed,  and  the  church  was  entirely  finished  when  his 
successor,  Jourdain  de  Hommet,  died  in  1218.  Only  eight  years  after,  however,  the 
edifice  was  damaged  by  fire.  The  necessary  restorations  were  carried  out  by  William 
of  Pont-de-l'Arche,  who  at  the  same  time  undertook  other  works  of  embellishment, 
notably  the  construction  of  the  two  lateral  chapels  of  the  chevet.  It  was  perhaps 
this  same  bishop  who  erected  the  western  towers,  of  which,  however,  only  the  north- 
ern survives,  the  southern,  as  is  known  from  an  inscription,  having  been  rebuilt  in 
1579.  The  lateral  chapels  of  the  nave  and  the  lady  chapel  are  of  the  XV  century. 
In  style  the  present  building  departs  so  widely  from  the  Norman  type  that  it  might 
almost  have  been  built  upon  the  soil  of  the  He  de  France.  The  vault  is  quadripartite; 
the  supports  are  all  columns;  the  system  of  three  shafts  rises  from  the  octagonal  abaci; 
the  flying  buttresses  are  simple,  with  finials,  but  no  pinnacles;  the  transepts  have 
eastern  aisles;  the  supports  of  the  chevet  consist  of  coupled  columns  engaged  together; 
and  the  windows  are  without  tracery.     (De  la  Balle;  Von  Bezold.) 

EVREUX,  Eure.  Eglise  CatJiedrale  Notre  Dame.  Of  the  cathedral  built  by 
Geselbert  and  consecrated  in  1077,^  nothing  survives,  this  edifice  having  been 
destroyed  in  1119  as  is  known  from  a  passage  in  Orderic  Vitalis:  "In  1119  King 
Henry  came  to  the  diocese  of  Evreux,  and  commenced  to  storm  the  city.  The 
King  said  to  Bishop  Audin,  'Don't  you  see,  my  Lord  Bishop,  that  we  are  repulsed 
by  the  enemy  and  can  overcome  them  only  with  fire?  True,  if  the  city  is  burned, 
the  churches  will  be  destroyed  and  great  loss  wiU  fall  upon  the  innocent.  There- 
fore, my  Lord  Bishop,  consider  carefully  and  then  tell  us  whether  it  seems  better 
to  you  to  bum  or  not  to  burn  the  town.  But  remember  that  if  by  means  of  the 
fire  the  victory  shall  fall  to  us,  the  injury  to  the  church  of  God  shall  be  lavishly 
repaired,  and  the  houses  of  God,  I  think,  shall  be  rebuilt  better  than  before.'  The 
bishop  hesitated  anxiously  before  such  a  decision.  But  at  length,  on  the  advice  of 
prudent  men,  he  decided  that  fire  should  be  kindled  and  the  city  burned.  There- 
fore, Radulph  de  Guader  first  set  fire  on  the  northern  side,  and  the  flames  spread 
at  once  throughout  the  city  and  destroyed  everything  (for  it  was  in  the  dry  season 
of  the  autumn).  Then  the  church  of  St.  Sauveur  was  burned  and  the  famous  hall 
of  the  glorious  virgin  mother  Mary,  whom  the  bishop  and  chapter  served.  But  the 
king  and  all  his  peers  gave  in  humility  an  indemnity  for  the  burning  of  the  church 
to  the  bishop,  and  promised  openly  other  gifts  from  their  own  possessions  for  its 
restoration.""     With    these    resources    the    reconstruction    must    have    progressed 

1  Orderic  Vitalis,  Lib.  V,  p.  548. 

^  Henricus  rex  pagum  Ebroicensem  adiit  et  Ebroas  cum  valida  manu  impugnare  coepit. 
Rex  dixit  ad  Audinum  Episcopum  —  "Vides  ne,  domine  praesul,  quod  repellimur  ab  hostibus 
nee  eos  nisi  per  ignem  subjugere  poterimus?  Verum,  si  ignis  immittitur,  ecclesiae  comburen- 
tur  et  insontibus  ingens  damnum  inferetur.  Nunc  ergo.  Pastor  ecclesiae,  diligenter  considera 
et  quod  utilius  pospexeris,  pro^de  nobis  insinua.  Si  victoria  nobis  per  incendium  devinitus 
conceditur,  opitulante  Deo  ecclesiae  detrimenta  restaurabuntur.  TJnde,  domus  Dei,  ut  reor, 
in  melius  reaedificabuntur."  —  Haesitat  in  tanto  discrimine  Praesul  anxius.  Tandem  pruden- 
tum  consultu  praecepit  ignem  immitti,  et  civitatem  concremari.     Radulphus  igitur  de  Guader 

319 


GOTHIC    MONUINIENTS 

rapidly,  for  in*  1139  we  read^  that  "Audin,  bishop  of  Evreux,  held  office  for 
twenty-four  years,  and  rebuilt  from  the  foundations  the  church  of  Notre  Dame, 
which  had  been  bm-nt  in  his  time."  '  Of  this  edifice,  the  main  arcades  of  the 
two  western  bays  of  the  existing  nave  are  a  remnant.  The  remaining  arcades, 
which  consist  of  sixteen  round  arches  each  supported  on  a  pier  surrounded  by 
twelve  colonnettes,  are  evidently  later  than  1139,  being  apparently  about  con- 
temporary with  the  lower  portions  of  the  cathedral  of  Bayeux,  and  must  have 
belonged  to  a  restoration  of  which  we  have  no  documentary  knowledge.  At  all 
events  the  church  was  again  burned  at  the  end  of  the  XII  century  —  probably 
in  the  disorders  of  119-1  — and  new  works  of  restoration  were  begun  at  the  tri- 
forium  level  of  the  nave  in  1202.  Progress,  however,  must  have  been  slow,  for  the 
triforium  on  the  south  side,  as  is  evident  from  its  style,  must  date  from  c.  1225, 
while  the  clearstory  can  hardly  be  earlier  than  c.  1240.  Four  nave  chapels  were 
added  in  12-16—17,  but  these  were  afterwards  rebuilt  in  the  XV  century.  From 
1298  to  1310  the  new  choir  was  in  construction;  it  was  completely  finished  before 
1327,  for  one  of  the  donors  of  the  stained  glass  died  at  that  date.  A  fire  which 
occurred  in  1355  seems  to  have  done  httle  damage  to  the  cathedral.  The  build- 
ing was  finally  completed  by  the  construction  of  the  transept  and  central  tower  in 
1446-75.  Tlie  choir  of  four  bays,  which  terminates  in  a  seven-sided  chevet  sur- 
rounded by  a  single  ambulatory  with  a  complete  set  of  radiating  chapels,  is 
characterized  by  a  glazed  triforium,  rayonnant  tracery,  and  superb  flying  but- 
tresses. Doubtless  because  the  old  Norman  plan  was  preserved,  the  transepts 
are  without  side  aisles.  The  transept  facade,  finished  in  1510,  is  a  superb  com- 
position comparable  only  to  that  of  Beauvais.  The  fine  flying  buttresses  of  the 
nave  were  destroyed  by  VioUet-le-Duc,  who  substituted  the  present  sorry  construc- 
tions.    (Fossey;  De  la  Balle;  St.  Paul.) 

TROVES,  Aube.  Egli^e  Cathedrale  St.  Pierre  et  St.  Paul.  (HI.  277.)  In  1188 
the  city  of  Troves  was  devastated  by  a  terrible  fire  which  injured  also  the  cathedral. 
It  seems,  however,  to  have  been  only  in  1208  that  the  bishop  Hervee  undertook  to 
erect  the  edifice  which  still  survives.  The  choir  was  finished  by  1223,  but  the  con- 
struction must  have  been  faulty,  for  only  four  years  later  (1227)  the  building  was  very 
seriously  injured  by  a  wind  storm.  A  bull  of  Gregory  IX  which  mentions  this 
disaster  implies  that  the  ruin  was  very  serious.  In  1233  the  work  of  repairing  the 
cathedral  was  undertaken  by  Nicolas  de  Brie,  but  progressed  so  slowly  that  it  was 
completed  only  by  Jean  d'Auxois  II  in  1314.  At  about  the  same  time  the  crossing 
and  transepts  were  erected.     In   1342   Jean  d"Auxois  V  presented  a  sum  of  money 

a  parte  aquilonali  primus  ignem  inieeit,  et  effrenis  flanrma  per  urbem  statim  volavit,  et  omnia 
(tempus  enim  autumni  siccum  erat)  corrupuit.  Tunc  combusta  est  basilica  sancti  salvatoris, 
et  Celebris  aula  gloriosae  virginis  et  matris  Mariae  cui  praesul  et  clerus  ser\'iebant.  Re.x  et 
cuncti  optimates  sui  episcopo  pro  ecclesiarum  combustione  vadimonium  suppUciter  dederunt 
et  uberes  impensas  de  opibus  suis  ad  restaurationem  eanim  palam  spopondenmt.  —  Ibid.,  Lib. 
Xn,  p.  852. 

1 1139.  Audinus  Ebroicensis  Episcopus  XXTV  annis  Ebroicensem  diocesim  tenuit  et  basil- 
icam  beatae  Dei  genetricis  Mariae,  quae  tempore  illo  combusta  fuerat  a  fundamentis  reparavit. 
—  Ibid.,  Lib.  XUI,  p.  919. 

320 


MONUMENTS   OF  THE  FIRST  CLASS 

for  the  "completion  of  the  church";  in  1364  the  chapter  made  a  bargain  with 
Thomas,  master  builder,  "to  superintend  the  works  on  the  church."  The  dedica- 
tion solemnized  in  1429  probably  celebrated  the  completion  of  the  great  central 
fleche,  which  unfortunately  no  longer  exists,  having  been  destroyed  in  the  XVIII 
century.  At  the  end  of  the  first  quarter  of  the  XV  century,  the  nave  was  in  con- 
struction; in  1450  it  had  been  finished  as  far  as  the  third  chapel.  Considerable 
difficulty,  however,  must  have  been  experienced  in  raising  funds,  for  in  1452  Nicolas 
V  srranted  indulgences  in  favor  of  the  church,  and  in  1457  relics  were  carried 
through  the  diocese.  In  1496  the  vaults  were  finished.  In  1506  the  foundations 
of  the  west  fa9ade  were  laid;  in  1511  work  on  the  tower  St.  Paul  was  begun;  and 
in  1526  the  Gothic  portions  of  the  west  end  were  completed  as  they  exist  to-day. 
Troyes  is  a  cathedral  much  neglected  by  travelers,  but  of  exceptional  interest. 
The  ambulatory,  a  superb  example  of  the  purest  Gothic  style,  possesses  details  of 
exquisite  perfection,  and  still  retains  almost  undamaged  its  original  glass.  Beauti- 
ful too  are  the  upper  portions  of  the  chevet,  of  which  the  glazed  triforium  and 
clearstory  also  contain  ancient  glass.  The  nave  has  five  aisles  and  a  complete  set  of 
lateral  chapels.  Although  flamboyant  in  style,  the  design  is  simple  and  restrained, 
and  harmonizes  well  with  the  Gothic  choir.  The  system  consisting  of  round  shafts 
is  carried  to  the  ground;  and  capitals  are  not  omitted.  It  is  only  when  the  prismatic 
profiles  of  the  archivolts  or  ribs  are  considered,  or  the  flamboyant  tracery  of  the 
clearstory  and  triforium,  that  the  visitor  becomes  conscious  of  the  late  style  of  this 
portion  of  the  edifice.  The  west  end,  one  of  the  finest  of  flamboyant  fa9ades,  is, 
notwithstanding  its  unfinished  state  and  the  unfortunate  mutilations  to  which  it  has 
been  subjected,  a  composition  of  remarkable  interest.     (Patenotre.) 

St.  Urbain.  (111.  220.)  The  documentary  evidence  for  the  building  dates  of 
this  church  is  unusually  full.  Urbain  IV  founded  it  in  1262  in  honor  of  his  patron 
saint,  "in  the  desire,"  he  quaintly  says,  "that  the  memory  of  this  name  might  remain 
forever  in  the  city  of  Troyes,  even  after  the  dissolution  of  our  body."  Works  must 
have  proceeded  rapidly,  for  a  series  of  texts  of  from  1265  to  1270  imply  that  at  least 
a  substantial  part  of  the  edifice  was  completed.  Thus  in  1265  a  bull  of  Clement  IV 
granted  indulgences  to  all  those  who  should  visit  the  church  on  the  day  of  St.  Urbain, 
or  on  the  day  of  the  consecration  of  the  main  altar.  Another  bull  of  Clement  issued 
in  1266  threatened  with  excommunication  the  abbess  and  nuns  of  the  Notre  Dame 
who  had  burst  open  the  doors  of  St.  Urbain  and  smashed  the  altar,  for  it  seems  the 
canons  of  St.  Urbain  and  the  nuns  of  Notre  Dame  lived  at  perpetual  warfare  with 
each  other,  and  not  infrequently  descended  to  physical  violence.  In  1267  indulgences 
were  granted  to  those  who  should  contribute  money  for  the  completion  of  the  church. 
Of  the  same  year  there  is  extant  a  bull  of  Clement  requiring  the  abbot  of  Montieramy 
to  force  a  certain  Jean  Langlois,  formerly  master  builder  of  St.  Urbain,  to  give  an 
accounting  of  the  funds  entrusted  to  him  for  the  expenses  of  the  construction.  In 
1268  there  was  more  difficulty  with  the  nuns  of  the  Notre  Dame,  who  appeared  with 
several  armed  men  "to  break  up  the  ceremony  of  the  consecration  of  the  new  ceme- 
tery." The  evidence  supplied  by  these  scattered  notices  is  confirmed  by  a  bull  of 
1276  issued  by  Innocent  V,  granting  indulgences  to  those  who  should  visit  the  church 

321 


GOTHIC    MONUMENTS 

of  St.  Urbain  on  the  day  of  its  "approaching  consecration.  It  is  therefore  impossible 
to  doubt  that  at  this  date  the  monument  was  finished  substantially  as  it  still  exists, 
though  the  styl^  of  the  edifice  is  so  remarkably  advanced  that  it  has  much  puzzled 
archaeologists.  For  St.  Urbain,  perhaps  the  lightest  and  most  fragile  of  all  Gothic 
constructions,  represents  the  acme  of  rayonnant  architecture,  and  were  not  its  dates 
firmly  established  might  well  be  assigned  to  an  epoch  at  least  fifty  years  later.  The 
building  consists  of  a  polygonal  apse,  a  choir  with  side  aisles,  transepts  with  side  aisles, 
and  an  unfinished  nave  of  three  bays  also  with  side  aisles.  In  the  western  portions 
capitals  are  omitted,  and  in  the  vestibule  ogee  arches  occur;  —  both  features  so  charac- 
teristically flamboyant  that  it  is  strange  indeed  to  find  them  in  a  XIII  century  church. 
(Von  Bezold.) 

Ste.  Madeleine.  The  choir  was  consecrated  in  1519;  the  rest  of  the  church, 
which  consists  of  a  nave  and  transepts,  both  supplied  with  side  aisles  and  covered 
with  sexpartite  vaults,  may  be  assigned  to  c.  1175,  and  is  of  extraordinary  interest 
for  certain  remarkable  analogies  with  the  Gothic  style  of  England.  Thus  the  dog- 
tooth moulding  is  lavishly  employed;  the  abaci  of  the  capitals  of  the  vaulting  shafts 
and  of  the  triforium  are  round;  and  the  archivolts  in  three  orders  are  of  complicated 
profile.  The  system  consists  of  a  single  shaft  much  narrowed  above  the  triforium. 
The  aisle  vault  is  higlily  domed,  but  its  ribs,  though  heavy,  have  advanced  profiles; 
the  wall  ribs  are  in  many  cases  omitted,  and  always  fade  away  before  reaching  the 
capitals.  Three  colonnettes  carrying  the  orders  of  the  archivolts  are  engaged  on  the 
piers.  The  capitals  of  the  latter  are  analogous  to  St.  Remi  of  Reims  or  Notre  Dame 
of  Chalons-sur-Marne.  Pointed  arches  are  used  throughout  in  the  ground  story. 
Above  the  triforium  string  the  design  of  the  nave  differs  from  that  of  the  transepts. 
In  the  nave  the  triforium  consists  of  an  arcade  of  four  arches  in  two  orders;  the  archi- 
volts of  the  outside  order  are  pointed,  those  of  the  inside  order,  round.  The  crock- 
eted  capitals,  which  may  be  assigned  to  c.  1200,  are  supplied  with  round  abaci  of 
which  the  top  member  instead  of  being  a  plinth  is  a  torus.  The  bases  overhang  the 
octagonal  plinths  even  at  the  corners.  Above  the  triforium  and  at  the  level  of  the 
capitals  of  the  vaulting  shafts  is  placed  a  heavy  corbel-table.  This  extraordinary 
feature  probably  indicates  that  there  was  originally  a  flat  wooden  roof  erected  at  this 
point,  although  the  capitals  of  the  vaulting  shafts,  which  are  finely  crocketed  and  have 
round  abaci,  seem  entirely  analogous  to  those  of  the  triforium.  The  original  vault 
has  been  replaced  by  a  modern  imitation,  which,  however,  presumably  reproduces 
the  original  dispositions.  The  wall  ribs  are  round-arched,  and  spring  from  the  clear- 
story corbel-table.  In  each  bay  the  clearstory  is  pierced  by  two  round-arched  shafted 
lancets.  The  west  end  is  supplied  with  five  lancets  of  different  heights  fitted  under 
a  round  arch  in  a  manner  peculiarly  English. 

St.  Jean,  which  is  classed  as  a  "monument  historique,"  is  of  several  different 
epochs.  The  tower  is  said  to  date  from  the  XII  century,  part  of  the  nave  and  the 
fine  portal  from  the  \TV  century,  the  remainder  of  the  edifice  including  the  fine  glass 
from  the  XVI  century. 

SOISSONS.  Aisne.  Eglise  Catkedrale.  (111.  207,  212,  228,  244.)  For  the  date 
of  construction  of  the  southern  transept,  the  oldest  part  of  the  existing  edifice,  the  only 

322 


MONUMENTS   OF  THE   FIRST  CLASS 

documentary  evidence  is  a  deed  of  gift  in  which  it  is  recorded  the  bishop  Nivelon 
(1176-1207)  ceded  the  chapter  part  of  his  garden.'  Presumably  this  bishop,  finding 
that  the  choir  of  his  cathedral,  which  had  been  built  about  the  middle  of  the  XII 
century,  was  stiU  in  good  condition  resolved  to  accomphsh  the  necessary  enlargement 
of  his  church  by  rebuilding  the  south  transept.  Since  the  style  of  this  transept  is 
obviously  earlier  than  that  of  the  existing  choir,  which,  it  is  known,  was  terminated 
in  1212,  M.  Lefevre-Pontalis  is  certainly  correct  in  assigning  the  former  to  the  years 
1180-90.  This  date  is  further  confirmed  by  the  fact  that  the  chapel  St.  Jacques, 
which  forms  the  upper  story  of  the  chapel  of  St.  Martin,  was  founded  in  1190.^  At 
aU  events,  soon  after  the  completion  of  the  transept  it  was  determined  to  rebuild  the 
entire  edifice,  and  the  foundations  of  a  new  choir  were  laid  before  the  end  of  the  XII 
century.  Roul  d'Oulchy,  prevot  of  the  chapter  from  1193  to  1208,  donated  the  chapels 
of  St.  Andre,  St.  Corneille,  and  St.  Cyprien.  The  canons  celebrated  mass  for  the 
first  time  in  the  new  choir  on  Sunday,  the  13th  of  May,  1212,  as  is  known  from  a  dog- 
gerel inscribed  upon  the  ancient  screen.^  After  this  the  construction  of  the  nave 
was  attacked,  and  finally  the  north  transept  was  rebuilt,  the  latter  being  completed 
probably  about  the  middle  of  the  XIII  century.  As  the  church  exists  to-day,  the 
southern  transept,  supplied  with  a  semicircular  end  and  a  side  aisle  carried  completely 
around,  differs  radically  in  design  from  the  remainder  of  the  edifice.  A  large  chapel 
in  two  stories  opens  o£F  to  the  eastward.  The  vaulting  of  the  central  aisle,  the  division 
into  four  stories,  the  high  vaulted  gallery,  and  the  trif orium  recall  Noyon.  The  shafts 
are  banded;  except  a  few  round-headed  windows,  the  pointed  arch  is  consistently 
used.  Wall  ribs  are  used  in  all  the  vaults;  in  the  curved  bays  of  the  side  aisles  the 
diagonals  are  curved  in  plan.  The  existing  flying  buttresses  were  added  after  the 
completion  of  the  transept.  This  portion  of  Soissons,  one  of  the  most  ethereal  of  all 
XII  century  designs,  is  the  highest  expression  of  that  fairy-like,  Saracenic  phase  of 
Gothic  art  that  had  first  come  into  being  at  Noyon.  Like  Noyon,  however,  this  tran- 
sept lacks  the  elements  of  grandeur  which  are  found  in  so  striking  a  degree  in  the  nave 
and  choir  of  this  same  church  of  Soissons.  For  when  the  reconstruction  of  the  choir 
was  taken  up,  only  a  very  few  years  later,  no  attempt  was  made  to  retain  in  the 
new  work  the  dispositions  of  the  old.  Quadripartite  vaults  were  employed  instead 
of  sexpartite;  the  trif  orium  gallery  was  omitted;  the  height  of  the  vault  increased; 
for  grace  and  daintiness  was  substituted  power  and  grandeur.  A  peculiarity  of  the 
choir  is  the  arrangement  of  the  vaults  of  the  ambulatory:  each  of  the  shallow  radi- 
ating chapels  is  united  with  the  corresponding  compartments  of  the  ambulatory  in  a 
single  octopartite  vault,  whose  center  is  placed  nearly  in  line  with  the  outside  edge 
of  the  ambulatory.  In  the  central  aisle  the  system  of  five  shafts  rests  upon  the 
polygonal  abaci  of  the  columns,  which  are  supplied  with  a  single  shaft  engaged  on 
the  side  of  the  nave.     (Lefevre-Pontalis.) 

1  Quamdam  partem  curiae  suae  in  qua  sita  est  dextra  crux  ecclesiae  nostrae  cum  capella 
sancti  Martini.  —  Bibl.  Nat.  Collection  Baluze  XLVI,  p.  467,  cit.  I,efevre-Pontalis. 

=  Arch.  Nat.  L.  742,  No.  13,  cit.  Lefevre-Pontalis. 

'Anno:  Mill  |  enno:  biscen  |  teno:  duod  |  eno:  hunc  |  intrare:  c  |  honun:  ce  |  pit:  grex  | 
canonico  |  rum:  te  |  rcio:  idu  |  s:  maii. 

323 


GOTHIC   MONUMENTS 

SfiEZ,  Orne.  Eglise  Cathedrale.  (111.  232.)  A  cathedral  at  Seez  was  dedi- 
cated March  19,  1126,  but  of  this  nothing  survives.  The  sole  documentary  evidence 
for  the  date  of  the  present  structure  is  the  following  epitaph:  "Here  lies  Jean  of  Ber- 
nieres,  formerly  bishop  of  Seez,  prudent,  modest,  and  gracious;  the  builder  of  the 
church  of  Seez  and  defender  of  its  rights,  who  died  on  Holy  Thursday,  April  14, 
1292."'  To  judge  from  the  style  of  the  architecture,  the  nave  was  probably  begun 
about  the  middle  of  the  XIII  century;  by  1292  it  must  have  been  entirely  finished, 
and  the  construction  of  the  choir  already  begun.  The  churcii  as  it  stands  to-day,  if 
it  falls  short  of  the  greatest  achievements  of  Gothic  art,  is  still  full  of  grace  and 
beauty.  Internally  the  design  is  characterized  by  the  absence  of  a  lantern,  by  a  system 
of  a  single  shaft  engaged  on  the  cylindrical  piers  and  carried  to  the  level  of  the  spring- 
ing, by  tlie  main  arcade  proportionately  very  high,  by  a  low  clearstory,  and  by  a  tri- 
forium  consisting  of  three  sets  of  coupled  arches  in  each  bay.  The  fa9ade  shows 
the  influence  of  the  local  school  in  its  lack  of  a  rose  window  and  in  the  shafting  on  the 
towers,  which  are  crowned  by  charming  spires.  Although  the  central  porch  has  great 
projection,  it  does  not  overlap  the  heavy  western  buttresses.  The  flying  buttresses 
are  double,  without,  however,  highly  developed  pinnacles.  While  the  clearstory 
wall  is  omitted,  arcading  of  open-work  tracery  thoroughly  Norman  in  character  is 
retained  inside  the  glass.  The  design  of  the  choir  is  distinguished  from  that  of  the 
nave  by  the  gables  which  surmount  the  arcades  and  by  the  glazed  triforium.  (Du- 
maine;  De  la  Balle;  Cotman.) 

AUXERRE,  Yonne.  Kglise  Cathedrale  St.  Eiiennf.  William  of  Seignelay 
(1207-20),  seeing  that  cathedrals  were  being  rebuilt  on  all  sides,  saved  up  a  sum  of 
money  for  the  reconstruction  of  his  which  menaced  ruin.  In  1215  he  demolished 
the  old  choir  and  began  a  new,  of  which  the  construction  had  progressed  consider- 
ably^ at  the  time  of  his  death  in  1220.  Although  the  biographer  of  Henri  de  ViUe- 
neuve  (1220-34),  who  succeeded  WiUiapi,  does  not  mention  that  this  bishop  continued 
the  cathedral,  the  stained  glass  of  the  choir  makes  it  almost  certain  that  such  was  the 
case,  for  in  the  great  windows  at  the  end  of  the  chevet  may  still  be  seen  the  figure  of 
an  Agnus  Dei  bearing  a  standard  which  is  nothing  else  than  the  reversed  seal  of  the 
bishop.  Henri  was  buried  (1234)  in  the  choir  of  the  cathedral,  which  must  conse- 
quently have  been  finished  at  this  time.  From  this  moment  the  construction  must 
have  been  pursued  slowly,  for  although  the  style  of  the  first  bay  of  the  nave  is  clearly 
that  of  the  XIII  century,  the  following  five  bays  could  hardly  have  been  erected 
before  the  XIV  century.  During  the  early  part  of  the  Hundred  Years'  War  building 
was  entirely  abandoned,  being  resumed  only  in  1413,  when  the  southern  portal  of 
the  transept  was  begun.  In  1470  the  western  bays  of  the  nave  were  attacked,  but 
the  fa9ade  was  finished  only  in  1550.  —  Of  the  church  as  it  stands  to-day,  the  most 
interesting  part  is  the  choir  —  a  noble  example  of  the  pure  Gothic  style,  so  much  the 

>  Hie  jacet  Johannes  dictus  de  Bemeria  quondam  episcopus  Sagiensis,  prudens,  modestus, 
gratiosus,  aedificator  ecclesiae  Sagiensis,  et  ejus  jurium  defensor,  qui  obiit  die  Jovis  in  coena 
Domini  \'idelicet  18  Kal  Maii  1292.  —  Epitaph  originally  in  cathedral  preserved  by  Marigny 
and  cited  by  Dmnaine,  p.  26. 

2  Lebeuf,  Vol.  I,  pp.  339-360,  cit.  Inkersley. 

324 


MONUMENTS   OF  THE  SECOND   CLASS 

more  delightful  that  it  still  retains  its  ancient  glass.  The  ambulatory,  with  only  a 
single  apsidal  chapel,  is  covered  with  vaults  analogous  to  those  of  St.  Remi  of  Reims 
and  Notre  Dame  of  Chalons-sur-Marne;  the  polygonal  chevet,  however,  is  supplied 
with  vaults  of  the  Noyon  type.  Although  the  high  vaults  are  quadripartite  at  present, 
the  church  was  evidently  originally  planned  for  a  sexpartite  vault.  The  transepts, 
and  those  bays  of  the  nave  which  date  from  the  XIV  century,  are  characterized  by  a 
system  of  shafts  rising  from  the  ground  and  receiving  the  ribs  on  small  capitals.  The 
portals  are  of  the  XIV  century;  the  remainder  of  the  fa9ade,  including  the  single 
tower,  is  flamboyant.     (Poree;  Nodier  et  Taylor;  Inkersley.) 

Ahhaye  St.  Germain.  Since  his  church  had  been  severely  damaged  by  two  fires, 
Jean  de  Joceval,  abbot  of  St.  Germain  (f  1277),  resolved  to  rebuild  the  monument. 
It  is  probable  that  works  progressed  rapidly  at  first,  for  Hugh  of  Guilly,  dean  of  the 
chapter,  was  buried  in  1289  at  the  end  of  the  nave  before  the  choir  door.  The  con- 
struction was  soon  interrupted,  however,  —  probably  after  the  choir  had  been  com- 
pleted—  but  was  resumed  by  Gaucher  Dignon  in  1309.  In  1362  the  Pope  Urbain 
V  gave  to  complete  the  building  the  sum  of  4,541  gold  florins  from  the  papal  treasury. 
This  would  seem  to  have  been  sufficient  to  finish  an  edifice  already  nearly  constructed; 
yet  it  is  recorded  that  in  1398  Hugh  of  Barlore  gave  900  pounds  for  the  vaults.  The 
abbey  is  thus  largely  a  monument  of  the  XIV  century,  but  unfortunately  it  has  been 
much  mutilated.  The  tower  St.  Jean  is  a  fine  Romanesque  structure,  surmounted 
by  a  fleehe  of  the  XII  century.  The  church  itself  is  notable  for  its  high  clearstory 
with  flying  buttresses  and  rayonnant  tracery.     (Nodier  et  Taylor.) 

St.  Eusebe.  The  nave  is  said  to  have  been  rebuilt  c.  1280;  the  octagonal  tower, 
which  rises  directly  over  the  altar  and  which  forms  a  lantern  internally,  is  of  the  XII 
century;  the  ambulatory  is  of  the  XIII  century.  The  great  flying  buttresses  support- 
ing the  tower  were  added  in  the  flamboyant  period.     (Nodier  et  Taylor.) 

BRAISNE,  Aisne.  St.  Yved.  This  abbey  of  the  order  of  Premont,  built  by 
Agnes,  wife  of  Robert  of  Dreux,  is  said  to  have  been  consecrated  in  1216.'  The 
transepts  project  the  distance  of  one  bay  beyond  the  side  aisles,  which,  however, 
terminate  in  semicircular  apses  two  bays  to.  the  westward  of  the  crossing.  The 
seven-sided  choir  is  without  side  aisles,  but  is  supplied  with  nine  radiating  chapels. 
Both  these  dispositions  are  unparalleled.  Except  in  the  lantern  which  rises  over 
the  crossing,  the  vaults  are  quadripartite  throughout;  some  of  the  shafts  rise  from 
the  pavement,  others  rest  upon  the  capitals  of  the  monocylindrical  columns.  The 
eastern  part  of  the  choir  is  designed  in  the  first  manner,  while  the  piers  of  the  two 
western  bays  of  the  nave  and  of  the  transept  are  of  the  latter  form.  The  nave  has 
fine  flying  buttresses.     (Von  Bezold;  Moore,  121.) 

Monuments  of  the  Second  Class 

MEAUX,  Seine-et-Marne.  Eglise  Cathedrale.  It  is  known  that  the  princess 
Marie  de  France,  who  was  buried  in  the  cathedral  in  1198,  was  a  large  benefactress 
of  the  church,  and  doubtless  most  of  the  work  of  the  XII  century  in  the  existing  edi- 
fice formed  part  of  the  building  to  which  she  contributed.     At  all  events,  a  very  thor- 

>  Gall.  Chris.  IX,  489 
325 


GOTHIC    MONUINIENTS 

ough-going  reconstruction  was  undertaken  in  1268.  Work  seems  to  have  progressed 
slowlj',  however,  until  the  XW  century,  when  Jeanne  of  Navarre  bequeathed  a  large 
sum  to  continue  the  works.  In  1321  and  1331  chapels  were  founded.  Jean  du  Drac, 
who  occupied  the  episcopal  throne  from  1458  to  1473,  commenced  the  northern  tower, 
but  this  was  not  completed  until  c.  1j30.  The  same  bishop  also  continued  the  nave, 
and  his  arms  may  still  be  recognized  in  the  dragons  rampant  on  the  third  pier.  Jean 
Shuillier,  bishop  from  1483-1500,  whose  arms  may  be  seen  on  the  fourth  pier,  must 
have  carried  forward  the  work  of  his  predecessor.  The  canon  Jean  de  Marcilly, 
who  died  in  1506,  constructed  at  his  own  expense  the  portal  beneath  the  northern 
tower,  and  founded  the  chapel  of  the  Annunciation.  Another  canon  founded  in  1512 
the  chapel  of  the  Visitation  and  built  the  northern  side  aisle.  —  The  cathedral  of 
Meaux,  as  it  exists  to-day,  consists  of  a  nave  shorter  than  the  choir  (being  only  five 
bays  long),  double  side  aisles,  non-projecting  transepts,  a  chevet,  and  an  ambula- 
tory whose  outer  aisle  is  replaced,  to  the  eastward,  by  five  radiating  chapels  —  the 
only  chapels  in  the  cathedral.  Although  the  southern  tower  has  never  been  erected, 
the  fafade  with  its  rich  sculpture  is  a  masterpiece  of  flamboyant  design.  The  gables, 
of  which  only  the  northern  is  ogeed,  have  flamboyant  tracer}',  but  no  open-work. 
The  northern  tower,  surmounted  by  a  flat  balustrade  with  four  angle  turrets,  seems 
reminiscent  of  Enghsh  perpendicular  work.  Although  the  main  body  of  the  edifice 
was  almost  entirely  reconstructed  in  1236  et  seq.,  the  original  system  of  the  XII  cen- 
tury may  still  be  made  out  in  the  choir,  while  the  eastern  bay  of  the  nave  on  the  south 
side  and  the  easternmost  tn-o  on  the  north  side,  together  with  the  two  ba3's  on  the  west 
side  of  the  north  transept,  largely  retain  their  original  forms.  From  these  fragments, 
it  is  evident  that  the  primitive  church  was  supplied  with  quadripartite  vaults  resting 
upon  a  complete  set  of  ribs  and  reinforced  by  flying  buttresses.  (Taylor;  Moore, 
120.) 

ST.  SATUR,  Cher.  Ahhayc.  (111.  'Z35.)  The  construction  of  this  abbey  was 
begun  in  1361,  but  in  1405  works  were  interrupted  and  never  resumed.'  The  existing 
edifice,  which  consists  of  a  five-sided  chevet,  a  choir  four  bays  long,  an  ambulatory 
and  radiating  chapels,  ends  abruptly  at  the  crossing:  all  except  the  westernmost  bay 
was  undoubtedly  completed  by  1367.  The  diagonals  of  the  ambulatory  vault  are 
curved  in  plan.  There  is  no  triforium,  but  the  lower  part  of  the  clearstory  windows 
are  walled  up  to  afford  space  for  a  lean-to  roof  over  the  aisles.  The  piers  consist 
of  a  number  of  very  small  engaged  colonnettes,  each  with  its  separate  uncarved  cap- 
ital, though  in  some  of  the  less  important  shafts  the  capital  is  omitted  altogether. 
The  spaces  between  the  shafts,  which  tend  to  assume  the  forms  of  prismatic  mould- 
ings, are  continued  from  pier  to  archivolt.  Almost  equally  prophetic  of  flamboy- 
ant design  are  the  bases  with  high  and  slender  plinths  which  spread  out  over  one 
another  and  tend  to  intersect.  The  vaults  of  the  choir  never  seem  to  have  been  rein- 
forced by  flying  buttresses.  This  monument  is  without  question  the  best  example 
that  has  come  down  to  us  of  the  style  of  the  middle  of  the  XW  century,  and  is  of 
great  value  in  showing  to  just  what  point  Gothic  had  advanced  at  the  time  of  the 
introduction  of  flamboyant  art.     (De  Kersers  VII,  50.) 

1  Arch,  du  Cher,  Fonds  de  St.  Satur.  Inv.  de  1656,  f°  13,  cit.  De  Kersers  VU,  50. 

326 


MONUMENTS   OF  THE  SECOND   CLASS 

GOURNAY,  Seine-Inferieure.  St.  Hildeverf,  though  half  remodeled  in  the 
early  Gothic  period,  still  retains  considerable  portions  of  its  original  Norman  archi- 
tecture. It  consists  of  a  nave  six  bays  long,  two  side  aisles,  transepts,  and  a  rect- 
angular choir  of  four  bays.  The  nave,  the  northern  absidiole,  the  east  end  of  the 
choir,  and  the  two  half  piers  of  the  latter  are  the  most  ancient  parts  of  the  existing 
edifice,,  and  are  assigned  to  c.  1100  by  Ruprich-Robert.  From  them  it  is  evident 
that  the  Norman  church  was  characterized  by  groin-vaulted  side  aisles,  unmoulded 
archivolts  in  two  orders,  and  square  piers  with  engaged  shafts.  There  was  no  gal- 
lery. The  transepts  and  choir,  reconstructed  in  the  style  of  the  He  de  France,  are 
supplied  with  a  continuous  system  of  three  shafts,  the  wall  shaft  being  stopped  at 
the  triforium  string.  The  two  eastern  bays  of  the  nave  at  present  have  sexpartite 
vaults;  the  other  vaults  are  quadripartite.  These  vaults  all  rest  on  corbels,  and 
no  attempt  is  made  to  adjust  them  to  the  original  uniform  system.  Externally,  the 
Gothic  fa9ade  is  flanked  by  two  towers  and  supplied  with  a  projecting  central  porch. 
(Ruprich-Robert;  Moore,  103;  Cotman;  Benoist,  84.) 

EU,  Seine-Inferieure.  Abbaye  St.  Laurent.  While  traveling  in  France  in  1181, 
Lawrence,  archbishop  of  Dublin,  was  taken  mortally  ill  as  he  happened  to  be  pass- 
ing Eu;  being  told  that  the  abbey  belonged  to  the  congregation  of  St.  Victor,  he  went 
thither,  and  was  presently  overtaken  by  death.  The  people  rushed  to  his  tomb  to 
offer  prayers;  he  was  at  once  popularly  hailed  as  a  saint;  and  when  his  body  was 
found  in  1186  uncorrupted  he  was  duly  canonized  (1226).'  "Meanwhile  the  church 
in  which  the  holy  body  was  lying  seemed  all  unworthy  of  the  Queen  of  Heaven  and 
her  so  honored  guest,  and  threatened  ruin  because  of  its  age.  Therefore  it  was  torn 
down  to  the  ground,  and  the  tomb  of  the  saint  remained  in  the  open  air,  trampled 
under  foot  by  bird  and  beast.  But  soon,  under  the  inspiration  of  heaven,  that  that 
holy  body  might  not  remain  without  honor,  it  was  taken  up  and  reburied  in  the  crypt 
before  the  altar  of  St.  Leger,  and  it  was  here  placed  on  Thursday,  April  17th,  1186."  ^ 
It  was  doubtless  immediately  after  this  event  that  the  construction  of  the  existing 
edifice  was  begun.  Since  the  relics  were  translated  into  the  church  in  1227,  it  is  fair 
to  assume  that  the  new  building  was  substantially  finished  by  this  time.  In  1426 
the  building  was  so  severely  damaged  by  lightning  that  repairs  were  stiU  incomplete 
in  1451.  As  the  monument  stands  it  is  of  great  interest  as  one  of  the  earliest  Gothic 
monuments  of  Normandy.  The  simple  exterior  (except  the  flamboyant  additions 
to  the  chevet  and  portals)  is  severely  simple;  the  interior  is  an  exceptionally  pure 
example  of  the  early  Gothic  style.  The  nave  is  eleven  bays  long;  the  transepts  do 
not  project.     (De  la  BaUe;  Inkersley;  Benoist.) 

MANTES,  Seine-et-Oise.  Notre  Dame,  for  the  date  of  whose  construction  we 
have  no  documentary  evidence,  consists  of  a  western  transept  across  which  the  main 

1  Gcdl.  Chris.  XI,  col.  293,  cit.  Inkersley,  76. 

2  Ecclesia  siquidem  in  qua  sanctum  corpus  jacebat  quae  nimirum  coeli  regina  tantoque 
ejus  hospiti  minus  suiEciens  videbatur  et  sua  vetustate  miniabatur  ruinam.  Unde  factum  est 
ut  diruta  solo  tenus  tumulus  beati  \'iri  remaneret  sub  dive  bestiis  et  avibus  conculcandus.  Mox- 
que  consilio  coelitus  inspirato,  ne  minus  honorifice  remaneret,  assumptum  est  sanctum  ejus 
corpus  et  ante  altare  sancti  Leodegarii,  in  cripta  reconditum  est  et  locatum  quinto  decimo  calendas 
maii,  feria  quinta,  anno  Domini  millesimo  centesimo  octogesimo  se.xto.  .  .  .  cit.  De  la  Balle. 

327 


GOTHIC    MONUINIENTS 

arcades  of  the  nave  are  carried,  h  nave  of  three  double  bays,  two  side  aisles,  a  chevet, 
and  an  ambulatory  originally  without  radiating  chapels.  The  most  extraordinary 
feature  of  the  edifice  is  the  triforium  gallery,  of  which  the  eastern  bays  are  covered  by 
a,  series  of  barrel  vaults  with  axes  at  right  angles  to  that  of  the  nave,  and  which  was 
originally  lighted  by  a  series  of  oculi,  though  many  of  these  have  now  been  altered 
into  rayonnant  windows.  In  the  western  (later)  bays  of  the  nave  the  gallery  is  sup- 
plied with  a  groin,  and  not  a  barrel,  vault.  This  gallery  also  has  a  balustrade  —  an 
unusual  feature  in  this  region  —  but  there  is  no  upper  triforium.  The  high  vaults 
are  sexpartite,  the  supports  being  alternately  piers  and  columns;  they  are  reinforced 
by  uniform  flying  buttresses  with  gables  but  without  pinnacles.  The  lancet  windows 
have  no  tracery.  Externally,  the  fa9ade  is  remarkable  for  the  fine  twin  towers  which 
flank  the  western  gable.  This  church  may  be  assigned  to  the  end  of  the  XII  and  to 
the  beginning  of  the  XIII  centuries.     (Von  Bezold:  Johnson.) 

CHALONS-SUR-MARNE,  Marne.  Eglise  Cathedrale  St.  Etienne.  There 
seems  to  be  no  documentary  evidence  for  the  building  dates  of  this  monument. 
The  east  end  is  clearly  the  earliest  part  of  the  existing  structure,  and  may  be  assigned 
to  the  fourth  decade  of  the  XIII  century.  Notwithstanding  the  fact  that  the  choir, 
which  is  only  one  bay  long,  has  been  sadly  mutilated  in  the  times  of  the  Renaissance, 
when  the  original  supports  were  replaced  by  the  existing  Doric  columns  and  the  vault 
most  lamentably  decorated,  many  Gothic  details  of  great  purity  and  beauty  survive. 
At  the  fifth  bay  of  the  nave  (counting  from  the  east),  there  is  noticeable  a  sudden 
change  of  style:  west  of  this  point  the  capitals  become  naturalistic  and  disappearing 
mouldings  are  introduced,  although  the  window  tracery  still  remains  the  same.  The 
system  of  the  nave  consists  of  three  shafts  rising  from  the  octagonal  abaci  of  the  mono- 
cylindrical  piers  and  of  two  wall  shafts  rising  from  the  triforium  string.  Altogether, 
this  nave  with  its  double  flying  buttresses  and  its  perfect  rayonnant  tracery  must  be 
considered  as  among  the  most  important  examples  we  possess  of  the  architecture  of 
the  XW  century.  Two  towers,  both  now  deprived  of  spires,  flank  the  choir;  the 
northern,  in  part  Romanesque,  seems  the  only  surviving  fragment  of  the  cathedral 
said  to  have  been  erected  in  11 47.  The  existing  fa9ade  is  a  work  of  the  Renaissance; 
the  portal  of  the  southern  transept  is  modern. 

ST.  LOUP  consists  of  a  nave,  two  side  aisles,  a  choir  and  a  three-sided  apse. 
This  monument  is  a  superb  example  of  rayonnant  art 

FfiCAMP,  Seine-Inferieure.  Ahhmje.  The  abbey  of  Fecamp  was  burned  on 
June  28,  1170; '  the  reconstruction,  however,  seems  to  have  been  immediately  begun, 
for  a  new  church  was  dedicated  only  eleven  years  later.^  However,  this  consecration 
must  have  taken  place  long  before  the  edifice  was  completed,  for  works  were  still  in 
progress  as  late  as  1219.^  Interrupted  at  this  date,  the  construction  was  carried  to 
completion  only  the  better  part  of  a  century  later  (1297).  Fecamp,  one  of  the  purest 
examples  of  the  Gothic  style  in  Normandy,  is  a  monument  of  great  interest.     The 

'An  dni  1170  combusta  est  Fiscanensis  ecclesia  quarto  kalendas  Julii  quarta  feria  post 
octavos  pentecostes.  —  Sigebert,  Chron.,  p.  138,  cit.  Inkersley. 

2  Ibid.,  p.  155. 

3  GaU.  Chris.  XI,  col.  209. 

328 


MONUMENTS   OF  THE  SECOND   CLASS 

vaults  are  quadripartite;  in  each  bay  three  shafts  rise  from  the  pavement,  but  the 
wall  shafts  are  not  carried  b^low  the  triforium  string,  and  receive  capitals  at  the  top 
of  the  stilt.  The  main  portal  of  the  XVII  century  is  characterized  by  desperate  pov- 
erty of  invention;  the  lady  chapel  dates  from  the  XIV  and  XV  centuries.  (De  la 
Balle;  Benoist.) 

ST.  QUENTIN,  Aisne.  Eglise.  This  collegiate  church,  whose  dimensions 
are  almost  large  enough  for  a  cathedral,  was  perhaps  designed  by  Villard  de  Honne- 
court.  The  western  tower,  at  least  in  its  lower  parts,  is  earlier  than  the  main  body 
of  the  church,  and  originally  stood  isolated  as  a  campanile.  It  is  known  that  in  1113 
a  reconstruction  of  the  church  of  St.  Quentin  was  projected,  and  that  the  choir  was 
even  begun,  but  it  is  not  clear  whether  this  building  was  ever  completed.  At  all 
events  the  choir  of  the  present  structure  was  erected  in  the  early  XIII  century. 
Hardly  had  it  been  finished,  however,  when  the  upper  parts  showed  signs  of  yield- 
ing, and  the  vaults  began  to  crack.  It  was  found  necessary  to  strengthen  the 
buttresses  and  flying  buttresses  and  insert  longitudinal  tie-rods.  In  1257  these 
alterations  were  concluded  and  the  choir  dedicated.  In  1316  new  cracks  appeared 
in  the  masonry;  the  ruin  of  the  choir  was  averted  only  by  reinforcing  all  the  piers 
and  columns.  The  construction  of  the  northern  transept  was  begun  in  1334.  In 
1394  the  high  vaults  of  the  choir  had  to  be  renewed.  The  southern  transept  was 
commenced  in  1400;  the  nave  was  erected  between  1400  and  1470.  From  1468  to 
1474  new  works  of  restoration  became  necessary  in  the  choir,  and  iron  tie-rods  across 
the  central  aisle  had  to  be  introduced.  However,  not  even  this  entirely  secured  the 
stability  of  this  part  of  the  structure,  though  the  building  still  stands.  The  choir  of 
St.  Quentin,  in  addition  to  its  unfortunate  history,  is  of  interest  for  its  remarkable 
plan,  which  includes  double  transepts  (the  eastern  pair  no  higher  than  the  side 
aisles),  a  polygonal  chevet,  double  side  aisles,  and  a  complete  set  of  radiating 
chapels.  In  the  mouth  of  each  of  these  chapels  are  placed  two  columns,  so  that 
each  compartment  of  the  ambulatory  vault  is  divided  into  six  parts.  (Von  Bezold; 
Gomart.) 

ST.  LO,  Manche.  Notre  Dame,  said  to  have  been  built  between  1297  and  1497, 
is  a  most  impressive  monument.  The  interesting  fa9ade  is  flanked  by  two  towers, 
of  which  the  northern  is  of  the  early  XIV  century,  the  southern,  with  its  portal,  of  the 
XV  century.  These  towers  are  both  octagonal  and  supplied  with  angle  turrets  and 
spires  of  the  XVII  century.  The  porches  are  recessed,  not  built  out;  the  buttresses 
of  the  fa9ade,  being  of  slight  projection,  do  not  reach  below  the  first  story.  The  por- 
tals are  remarkably  unsymmetrical :  the  northern  one,  which  is  roimd-arched,  is  the 
widest;  the  central  one  is  pointed  and  somewhat  narrower:  the  southern  is  acutely 
pointed  and  very  narrow.  As  usual  in  Normandy  there  is  no  rose  window;  the  sec- 
ond story  of  the  fa9ade  is  formed  of  three  great  pointed  windows,  all  equally  large. 
The  choir,  which  has  an  ambulatory,  is  characterized  by  monocylindrical  supports 
with  disappearing  mouldings.  The  design  of  the  interior,  in  general,  is  very  irreg- 
ular. There  is  no  triforium:  the  clearstory  windows  are  small.  The  edifice  con- 
tains, it  is  said,  fine  glass.     (De  la  Balle;  Benoist  V,  26.) 

CAEN,    Calvados.     St.   Pierre.     (111.    257.)     The   spire   of   this   church,    con- 

329 


GOTHIC   MONUMENTS 

structed  in  1308,  is  perhaps  the  finest  Gothic  spire  ever  designed.  It  is  without 
internal  supports  from  base  to  summit,  being,  in  fact,  nothing  but  a  hollow  pyramid. 
The  tower  stands  to  the  south  of  the  fa9ade,  \\;hich  is  remarkable  for  its  great  portal 
built,  it  is  said,  shortly  before  1384.  This  portal  is  characterized  by  rayonnant  tra- 
cery and  open-work  gables.  The  nave  also  dates  in  part  from  the  XIV  century,  but 
the  vault  was  constructed  at  a  later  epoch  when  other  alterations  as  well  were  executed 
in  a  decadent  style.  The  system  of  five  shafts  rising  from  the  ground  to  the  level  of 
the  springing  of  the  vaults  is  crowned  by  small  capitals  with  round  abaci.  Mono- 
cylindrical  piers,  on  which  are  engaged  the  shafts  of  the  system  and  a  single  colon- 
nette  beneath  each  of  the  archivolts,  support  the  main  arcade.  The  capitals  carved 
with  naturalistic  foliage,  genre  scenes,  etc.,  are  very  small;  the  archivolts  are  moulded 
with  extreme  richness  in  the  Norman  manner.  A  heavy  balustrade  runs  the  entire 
length  of  the  triforiuni.  The  vault,  which  has  multiple  ribs  and  pendants,  seems 
approximately  contemporary  with  the  choir.  The  latter  is  surrounded  by  an  ambula- 
tory and  radiating  chapels,  all  in  the  most  florid  and  decadent  style.  Renaissance 
and  flamboyant  motives  mingle  freely,  and  no  excess  of  unmeaning  ornament  is 
spared.    (De  la  Balle.) 

St.  Sauvevr  (formerly  Notre  Dame-de-Froide-Rue)  consists  of  two  parallel  naves 
each  ending  in  its  own  apse.  It  is  probable  that  only  the  northern  of  these  naves 
existed  in  the  XIV  century.  The  spire,  which  iuiitates  rather  than  rivals  that  of 
St.  Pierre,  dates  from  the  XIV  century,  and  the  exterior  gallery  on  the  south  wall  is 
a  masterpiece  of  flamboyant  lace-work.     (De  la  Balle.) 

St.  Sauvenr-du-M arche.  The  tower  of  this  desecrated  edifice  dates  from  the 
XIII  century,  and  is  ornamented  with  zig-zags,  guilloches,  and  billets,  —  all  e.xtraor- 
dinary  decorations  for  this  epoch.  The  nave  wliich  seems  to  have  been  constructed 
in  the  X\'  century,  has  cylindrical  colunms,  vanishing  mouldings,  and  a  triforium 
consisting  of  a  hea\'y  balustrade.  The  choir,  begun  in  1530,  was  finished,  it  is  said, 
in  1546.     (De  la  Balle.) 

St.  J  can.  Neither  the  western  tower  of  the  XIV  and  XV  centuries,  nor  the  cen- 
tral tower  of  the  XVI  century,  has  ever  been  finished.  The  plan  of  the  church  is 
cruciform,  but  the  choir  of  the  XV  century  is  longer  than  tlie  nave  of  the  XIV  century. 
The  edifice  has  been  restored  several  times  since  1842.     (De  la  Balle.) 

ORBAIS,  Marne.  Ahhaye.  The  nave  of  this  Benedictine  abbey  has  been 
entirely  destroyed,  but  the  choir,  the  transepts,  the  ambulatory,  and  five  radiating 
chapels  survive.  A  barrel  vault  covers  the  rectangular  portion  of  the  lad}'  chapel  — 
a  most  remarkable  disposition.  The  ambulatory  vaults  have  broken  diagonals; 
the  chevet  —  notwithstanding  the  quadripartite  vault  —  is  vaulted  in  the  same  man- 
ner as  that  of  Noyon.  The  system  rises  from  the  abaci  of  the  circular  piers.  The 
clearstory,  which  is  pierced  by  grouped  lancets  surmounted  by  an  oculus,  is  com- 
bined into  one  composition  with  the  triforium,  and  is  reinforced  by  well-developed 
flying  buttresses.  With  the  exception  of  the  one  remaining  mutilated  bay  of  the  nave 
the  monument  may  be  assigned  to  c.  1200.  (Arch,  de  la  Com.  des  Mon.  Hist.  II, 
27.) 

LONGPONT,  Aisne.     Ahhaye.     This  abbey,  now  in  a  picturesque  state  of 

330 


MONUMENTS   OF  THE   THIRD   CLASS 

ruin,  belonged  to  the  Cistercian  order,  but  aside  from  the  towerless  fa9ade  shows  none 
of  the  distinctive  pecuHarities  of  Cistercian  churches.  It  is  said  to  have  been  con- 
secrated in  1237.  The  nave  was  nine  bays  long,  the  transepts  had  three  aisles,  the 
seven-sided  chevet  was  supplied  with  an  ambulatory  and  radiating  chapels.  The 
design  is  similar  to  that  of  Soissons  except  that  there  are  no  colonnettes  engaged 
on  the  round  piers,  and  the  triforium  is  blind,     (^'^on  Bezold.) 

Monuments  of  the  Third  Class 

SENLIS,  Oise.  St.  Pierre.  The  rich  flamboyant  fa9ade  of  this  desecrated  edi- 
fice is  characterized  by  a  central  gable  flanked  by  turrets,  and  dates  from  the  end  of 
the  XV  century.  Near  the  northern  transept  rises  a  tower  whose  lower  parts  are 
Romanesque,  but  which  is  crowned  by  a  crocketed  spire  of  the  middle  of  the  XV  cen- 
tury. The  choir  dates  from  the  XIII  century;  the  nave,  of  which  the  projected  vaults 
have  never  been  executed,  was  constructed  between  1400  and  1430.     (Dupins,  13.) 

St.  Vincent  consists  of  a  single-aisled  nave,  transepts,  a  fine  lateral  tower,  and 
a  rectangular  choir.  The  style  of  the  edifice  seems  to  be  that  of  the  early  XIII  cen- 
tury. The  pointed  arch  is  consistently  used,  and  the  church  is  vaulted  throughout, 
though  many  of  the  vaults  are  without  ribs.  There  is  no  tracery;  the  buttresses, 
however,  are  well  developed.  A  Renaissance  portal  has  been  added  to  the  west  fa9ade, 
but  it  is  said  that  the  old  Gothic  entrance  still  exists  underneath.  (Magne;  John- 
son.) 

St.  Frambourg.  This  desecrated  church,  which  is  said  to  have  been  begun  in 
1177,  consists  of  a  single-aisled  nave  and  a  semicircular  apse.  The  vaulting  is  sex- 
partite,  the  chevet  vault  being  disposed  as  at  Noyon.  With  the  exception  of  the  wall 
shaft,  which  stops  at  the  impost  level  in  the  alternate  piers,  the  system  is  continuous. 
The  windows  are  without  tracery.  The  facade  is  furnished  with  an  enormous  rose 
window  which  has  been  walled  up.     (Johnson.) 

ST.  RIQUIER,  Somme.  Abbaye.  "The  abbot  Peter  III  [1457-60]  at  once 
devoted  himself  heart  and  soul  to  the  restoration  of  his  church  and  monastery.  He 
paved  the  church  with  stones  brought  from  Holland,  and  he  attended  to  repairing  and 
leading  the  roof.  He  built  the  tomb  in  the  lady  chapel  in  1460  and  many  other 
things.  The  buildings  were  destroyed  [i.e.  damaged  ?]  by  storms  and  especially  by 
the  Burgundian  War,  but  owing  to  the  incredible  zeal  of  the  new  abbot  [Peter  IV] 
they  were  completely  restored  and  in  a  better  fashion  by  1479.  Peter  IV  died  and 
lies  in  the  lady  chapel;  over  his  tomb  is  this  epitaph:  'This  Peter  founded  the  rock 
of  the  church  on  many  foundations  and  decorated  it  with  many  ornaments  and 
restored  the  old  arches.'  .  .  .  Eustache  II  repaired  the  building  that  had  shortly 
before  [1487]  been  destroyed  by  the  devouring  flames.  He  built  the  lady  chapel 
and  adorned  the  church  with  vaults.     He  died   in  1517."'     It   is  usually  said  that 

'  Petrus  III  le  Pretre,  1457.  Statim  Petrus  ecclesiae  et  monasterii  reparationibus  se  totum 
contulit,  ecclesiam  pavimentis  ex  Hollandia  delatis  stra^it,  ejusque  tigna  plumbo  et  tegulis  tegi 
curavit.  Sepulcrum  in  sacello  beatae  Mariae  1460,  multaque  alia  construxit.  Tempestatum 
ac  praecipue  belli  Burgundici  sorte  destructa  aedificia,  meliorem  in  modum  incredibile  abbatis 
zelo  renovata  absoluta  fuissent  1479.     Obiit  et  in  sacello  beatae  Mariae  sepultus  jacet,  cum 

331 


GOTHIC   MONUMENTS 

the  edifice  was  entirely  rebuilt  after  the  fire  of  1-187.  Such,  however,  does  not  seem 
to  have  been  the  case,  for  in  the  choir  survive  many  fragments  (the  lower  part  of 
the  piers  of  the  crossing,  the  eastern  side  of  the  transept,  etc.)  which  from  their 
style  must  evidently  date  from  the  end  of  the  XIII  or  beginning  of  the  XIV  cen- 
tury. The  remainder  of  the  church  is  a  typical  example  of  flamboyant  architec- 
ture. To  judge  from  the  style,  by  the  death  of  Eustache  (1517)  the  choir,  the 
transepts,  and  the  lower  part  of  the  nave  must  have  been  finished.  The  nave 
clearstory  was  erected  soon  afterwards  but  on  an  altered  plan.     (Von  Bezold.) 

BREUIL-BENOIT,  Eure.  Ahhaye  consists  of  a  nave  six  bays  long,  two  side 
aisles,  transepts,  a  polygonal  chevet,  an  ambulatory,  and  radiating  chapels.  The 
construction  was  probably  commenced  as  early  as  the  end  of  the  XII  century,  for 
the  dedication,  it  is  said,  was  celebrated  by  Richard,  bishop  of  Evreux,  in  1224.  The 
extremely  oblong  vaulting  compartments  are  covered  with  quadripartite  vaults,  which 
are  reinforced  by  flying  buttresses  well-developed  but  deprived  of  all  ornament.  A 
simple  balustrade  replaces  the  triforium.  The  cylindrical  piers  are  each  surrounded 
by  four  engaged  octagonal  colonnettes.  The  central  one  of  these  colonnettes  receives 
no  capital,  but  ends  in  a  corbel  supporting  the  three  shafts  of  the  system.  Crockets 
and  square  abaci  characterize  the  capital.  The  nave  of  this  interesting  monument 
is  in  excellent  preservation,  and  the  ruins  of  the  choir  are  very  picturesque.  (De  la 
Balle;  Benoist.) 

SENS,  Yonne.  >Si.  Jean.  While  there  is  no  documentary  evidence  for  the 
building  dates  of  this  abbey  church,  whose  nave  has  been  destroyed  but  whose 
choir  is  still  intact,  the  style  is  evidently  that  of  the  first  years  of  the  XIII  century. 
The  polygonal  chevet  is  supplied  with  an  ambulatory  and  a  single  apsidal  chapel. 
Although  the  windows  are  grouped,  there  is  no  tracery.  Since  there  are  no  flying 
buttresses  and  the  present  vaults  date  only  from  the  XV  century,  it  is  probable  that 
in  the  Gothic  period  the  church  was  roofed  in  timber. 

GONESSE,  Seine-et-Oise.  flglise  consists  of  a  nave,  two  side  aisles,  and  a 
choir  with  ambulatory  but  without  radiating  chapels.  The  choir,  which  is  covered 
with  sexpartite  vaults  and  supplied  with  flying  buttresses,  seems  to  be  the  oldest  part 
of  the  existing  structure,  and  may  be  assigned  to  the  end  of  the  XII  century.  In 
the  easternmost  bay  the  piers  are  of  square  section  with  a  shaft  let  into  the  angles, 
a  plain  pilaster  supporting  the  main  transverse  rib,  and  round  shafts  on  either  side 
carrying  the  diagonals;  the  intermediate  supports  consist  of  coupled  columns  like 
those  of  Sens.  The  cinquepartite  ambulatory  vault  is  supplied  with  broken  ribs  and 
the  chevet  vault  is  of  the  same  type  as  that  employed  at  Noyon.  The  nave  is  evi- 
dently somewhat  later  than  the  choir,  for  its  triforium  can  hardly  be  earlier  than  the 
second  haU  of  the  XIII  century.  It  is  at  present  roofed  in  wood,  but  since  the  sj'stem  is 
alternate,  vaults  were  doubtless  projected.  A  tower,  contemporary  with  the  choir,  rises 
over  the  southern  side  aisle.     (Arch,  de  la  Com.  des  Mon.  Hist.  II,  10;  Moore,  119.) 

hoc  epitaphio:  "Hie  Petrus  petram  ecclesiae  multis  fiindamentis  solidavit,  plurimis  ornamentis 
decora\'it,  veteranas  arces  restaura'S'it.  .  .  .  Eustachius  II.  Reparat  aedificia  voracibus  flamnils 
recens  destructa  1487.  Sacellum  beatae  Mariae  aedificari,  ecclesiam  fomicibus  ornari  fecit 
Interiit  anno  1517.  —  GaU.  Chris.  X,  col.  1259,  1260,  cit.  Inkersley,  118. 

332 


1 


MONUMENTS   OF  THE  THIRD   CLASS 

VINCENNES,  Seine.  Sainte  Cha-pelle  du  Chateau.  This  monument  begun 
by  Charles  V  (1364-80)  and  Charles  VI  (1380-1422)  remained  nearly  a  century 
uncompleted,  being  at  last  finished  by  Fran9ois  I  (1515-47)  and  Henri  II  (1547-59). 
The  architects  of  the  Renaissance,  however,  scrupulously  preserved  the  Gothic  de- 
sign in  ensemble  and  in  detail,  so  that  it  is  now  impossible  even  to  perceive  at  what 
point  the  works  were  interrupted.  The  edifice  consists  of  a  single-aisled  nave  and  a 
polygonal  apse.  Design  and  details  are  alike  exquisite.  The  tracery  is  rayonnant 
in  the  apse,  flamboyant  elsewhere.  The  capitals  are  of  very  diminutive  size.  (Arch, 
de  la  Com.  des  Mon.  Hist.  I,  81.) 

AUBIGNY,  Cher.  St.  Martin.  This  monument,  which  is  assigned  by  M.  de 
Kersers  to  the  early  years  of  the  XIII  century,  consists  of  a  nave,  two  side  aisles,  and 
a  three-sided  apse.  The  monocylindrical  piers  are  surrounded  by  four  colonnettes 
which  almost  stand  free.  The  system  is  uniform,  but  the  vault  in  the  nave  is  sex- 
partite,  even  though  the  spacing  of  the  piers  would  have  given  a  quadripartite  vault 
nearly  a  square  plan.  This  system  is  further  peculiar  in  that  the  diagonal  and  wall 
ribs  spring  from  capitals  placed  lower  than  those  of  the  transverse  ribs.  In  the  alter- 
nate piers  both  wall  and  diagonal  ribs  are  gathered  on  a  single  shaft,  which  is  carried 
only  as  far  as  the  main  capitals,  although  the  transverse  shaft  is  continuous.  The 
present  triforium  consists  of  a  series  of  doors;  since  the  thresholds  of  these  are  much 
worn  it  is  probable  that  a  wooden  gallery  formerly  existed.  One  of  the  southern 
portals,  although  the  detail  is  fully  Gothic,  is  round-arched.  The  chevet  vault  is  of 
the  Noyon  type;  the  extreme  eastern  and  western  bays  of  the  choir  are  covered  with 
quadripartite  rib  vaults.  The  unfinished  western  tower  is  of  the  XV  or  XVI  century; 
the  principal  portal  is  of  the  XV  century;  and  the  various  chapels  were  subsequently 
added  at  different  times.  Externally  the  flying  buttresses  are  placed  at  different  levels 
corresponding  to  the  alternately  high  and  lower  springing  of  the  ribs.     (De  Kersers.) 

PACY,  Eure.  Eglise.  This  beautiful  monument  under  a  plain  and  unadorned 
exterior  conceals  an  interior  that  is  a  veritable  gem  of  early  Gothic  art.  The  con- 
struction was  doubtless  begun  in  the  last  decade  of  the  XII  century,  and  it  is  prob- 
able that  the  monument,  with  the  exception  of  the  transept  vaults  which  were  not 
erected  before  the  XIV  and  XV  centuries,  was  entirely  finished  by  c.  1210.  The 
entire  church  is  only  six  bays  long,  and  the  length  of  these  bays  diminishes  as  the 
west  end  is  approached.  The  simple  plan  comprises  a  nave,  two  side  aisles,  non- 
projecting  transepts,  and  a  choir.  Pointed  arches  are  used  throughout.  The  system 
consists  of  a  single  shaft  resting  on  a  corbel  above  the  abaci  of  the  cylindrical  piers. 
The  diagonals  usually  rest  on  corbels  at  the  clearstory  level,  though  in  certain  piers 
the  three  shafts  are  carried  to  the  ground.  Though  the  quadripartite  rib  vaults  are 
of  the  fully  developed  Gothic  type  with  wall  ribs,  there  are  no  flying  buttresses.  The 
triforium  in  the  nave  is  much  developed,  but  the  clearstory  is  low,  each  bay  being 
pierced  by  two  small  windows.  The  details  throughout,  and  especially  the  capitals, 
are  exquisite.     (De  la  Balle;  Benoist.) 

GISORS,  Eure.  St.  Gervais  et  St.  Protais  is  one  of  the  most  interesting  relig- 
ious edifices  of  Normandy.  A  church  dedicated  in  1119  was  destroyed  by  a  fire 
kindled  by  Robert  de  Candos  in  1224.     Thanks,  however,  to  the  liberalities  of  the 

333 


GOTHIC   MONUMENTS 

queen,  Blanche  of  Castille,  the  ""church  was  soon  raised  from  its  ruins,  and  on  May 
12,  12-19,  Eudes  Rigaud,  archbishop  of  Rouen,  celebrated  the  dedication  of  the  new 
edifice.  It  is  probable  that  only  the  choir  and  the  tower  were  finished  at  this  time, 
for  the  nave,  the  side  aisles,  the  chapels,  and  the  facade  evidently  date  from  the  XV 
and  X\1  centuries.  The  dimensions  of  the  church  are  almost  those  of  a  cathedral; 
there  are  five  aisles,  three  towers,  and  an  ambulatory.  In  the  choir  the  supports 
are  columns,  and  the  system  is  logical.  The  nave  and  especially  the  fa9ade  are  char- 
acterized by  a  mixture  of  Renaissance  and  flamboyant  motives.  On  the  southern 
side  of  the  nave  the  flying  buttresses  of  ogee  form  are  treated  with  open  work.  The 
southern  aisle  internally  is  characterized  by  Heme  vaults,  disappearing  ribs,  and  col- 
umns ornamented  with  strange  spiral  paneling.  (De  la  Balle;  Moore,  122;  Benoist 
II,  81.) 

CHAMPAGNE,  Seine-et-Oise.  Eglisc,  which  may  be  assigned  to  the  last  years 
of  the  XII  century,  consists  of  a  nave,  two  side  aisles,  transepts  (which  retain  their 
Romanesque  absidioles),  and  a  square  east  end.  The  central  tower,  with  its  groups 
of  angle  shafts  and  slender  colonnettes,  is  a  masterpiece  of  early  Gothic  design.  The 
fa9ade  without  towers  is  simple  and  efl'ective;  the  rose  windows  are  filled  with  early 
tracery,  and  the  flying  buttresses  are  supplied  with  gables.  Internally,  on  the  abaci 
of  the  monocylindrical  piers  rest  three  shafts  which  carry  the  five  ribs  of  the  quadri- 
partite vault.  The  clearstory  and  triforium  are  combined  in  a  traceried  composition, 
of  which  the  oculi  of  the  clearstory  form  the  upper  part.  (Baudot:  Johnson;  Moore, 
173.) 

DIVES,  Calvados.  Notre  Dame.  AVith  the  exception  of  certain  fragments  of 
the  XI  century,  this  monument  belongs  entirely  to  the  XIV  and  XV  centuries.  The 
exterior,  without  flying  buttresses  and  with  great  imbroken  wall  surfaces,  shows 
unmistakable  English  influence.  For  the.  rest,  the  edifice  is  remarkable  for  its  square 
east  end,  its  transepts  without  side  aisles,  its  square  donjon-like  tower.  Some  of 
the  carving  in  the  flamboyant  portals  is  of  exquisite  delicacy.     (De  la  Balle.) 

CHAMPEAUX,  Seine-et-Marne.  Eglise.  The  transepts,  the  oldest  portion  of 
this  monument,  are  assigned  to  the  end  of  the  XII  century;  the  nave  and  the  tower 
to  the  first  half  of  the  XIII  centxiry:  and  the  choir  to  the  second  half  of  the  same 
century.  The  plan  of  the  church  forms  a  Greek  cross,  and  comprises  a  nave,  two 
side  aisles,  transepts,  a  square  chevet,  an  ambulatory,  and  eastern  chapels.  A  single 
tower  stands  to  the  westward.  The  vault  is  sexpartite;  the  alternate  supports  are 
monocylindrical;  the  intermediate  consists  of  two  very  slender  columns  coupled  in 
the  transverse  sense.  The  wall  shaft  receives  a  capital  at  the  top  of  the  stilting.  In 
the  intermediate  piers,  two  shafts  resting  on  the  abaci  of  the  capitals  of  the  main 
arcade  carry  three  ribs:  in  the  alternate  piers,  three  shafts  carry  five  ribs.  The  alter- 
nate piers  are  reinforced  by  flying  buttresses.  The  triforium  consists  of  a  series  of 
great  traceried  oculi  similar  to  those  of  Paris:  the  clearstory  is  pierced  with  lancet 
windows.  The  archivolts  of  the  main  arcade  are  unmoulded,  and  the  bases  abnor- 
mally high.  Groin  vaults  cover  the  side  aisles.  (Baudot;  Moore;  Arch,  de  la  Com. 
des  Mon.  Hist.  I,  39.) 

NORREY,  Calvados.     Eglise.    This  beautiful  little  monument,  which,  unfor- 

334 


MONUMENTS   OF  THE  THIRD   CLASS 

tunately,  has  never  been  finished,  consists  of  a  nave,  two  side  aisles,  transepts  with 
chapels,  a  fine  central  tower  whose  spire  has  never  been  completed,  a  chevet,  an  am- 
bulatory, and  two  apsidal  chapels,  crowned  externally  with  curious  spires  recalling 
those  of  St.  Nicolas  of  Caen.  The  well-developed  flying  buttresses  are  thoroughly 
French  in  style,  but  the  capitals  with  round  and  polygonal  abaci,  the  naturalistic 
foliage,  and  the  excess  of  unrestrained  ornament,  which  characterize  the  interior, 
seem  English.  The  ambulatory  vault  has  broken  diagonals.  This  monument  may 
be  assigned  to  the  third  quarter  of  the  XIII  century.     (De  la  Balle;  Benoist  III,  39.) 

CHAPELLE-SUR-CRECY,  Seine-et-Marne.  Eglise,  which  consists  of  a  nave, 
two  side  aisles,  and  three  apses,  was  erected  c.  1210,  but  altered  in  the  flamboyant 
period.  Of  the  latter  epoch  are  the  first  three  bays  of  the  gallery  on  each  side  of  the 
nave.  The  vaults,  reinforced  by  well-developed  flying  buttresses,  are  quadripartite; 
the  five  ribs  are  carried  on  a  system  of  three  shafts  rising  from  corbels  placed  just 
above  the  capitals  of  the  monocylindrical  piers.  The  arches  of  triforium  and  clear- 
story are  trilobed;  the  latter  are  filled  with  simple  plate  tracery.  (Baudot;  Arch, 
de  la  Com.  des  Men.  Hist.  I,  46.) 

GRAND-ANDELY,  Eure.  Notre  Dame.  The  greater  portion  of  this  monu- 
ment —  the  west  fa9ade,  the  nave,  the  choir,  and  the  side  aisles  —  may  be  assigned 
to  the  middle  of  the  XIII  century.  In  the  XV  century  the  low  central  tower  was 
added,  and  about  the  end  of  the  same  century  the  southern  transept  was  constructed. 
The  line  of  lateral  chapels  on  the  south  side  of  the  nave  seems  to  have  been  added 
in  the  XVI  century  —  at  the  same  time  the  triforium,  clearstory,  and  flying  buttresses 
were  rebuilt,  —  while  the  northern  transept  up  to  the  clearstory  level,  its  fa9ade,  and 
the  two  chapels  which  flank  it  were  built  between  1550  and  1575.  Internally,  the 
nave  is  characterized  by  a  continuous  system  of  three  shafts,  capitals  with  square 
abaci,  and  fine  glass  of  the  XVI  century.  The  fa9ade,  flanked  by  two  towers,  is  sup- 
plied with  three  recesses  (two  of  which  are  blind),  but  has  no  buttresses.  Fine 
details  and  jambs  consisting  of  shafts  standing  in  front  of  an  arcade  —  an  English 
motive  —  are  the  distinguishing  features  of  the  central  portal.  The  east  end  is  square. 
(De  la  Balle;  Benoist.) 

THIERVAL,  Seine-et-Oise.  Eglise,  which  may  be  assigned  to  c.  1210,  is  en- 
tirely covered  with  quadripartite  vaults,  whose  transverse  and  diagonal  ribs  —  the 
wall  ribs  are  omitted  —  are  carried  on  corbels.  The  lofty  clearstory  is  pierced  in 
each  bay  by  three  lancets,  but  the  triforium  has  plate  tracery.  A  single  colonnette 
is  engaged  on  the  aisle  side  of  the  square  piers.  The  buttresses  are  heavy;  the  fly- 
ing buttresses,  well  developed.  The  octagonal  tower,  which  is  only  one  story  high, 
is  characterized  by  shafted  angles  and  pointed  windows.     (Baudot.) 

LOUVIERS,  Eure.  Notre  Dame.  The  existing  nave  and  choir  doubtless 
belonged  to  the  church  consecrated  in  1226,'  but  the  tower,  which  has  almost  the 
appearance  of  a  donjon,  was  added  in  1336  during  the  English  occupation.  Accord- 
ing to  notes  in  the  parish  register,  the  outside  walls  (including  presumably  both  the 
present  double   side  aisles)   were   reconstructed   in   1493-96.     The   existing  edifice 

>  GaU.  Chris.  XI,  col.  584,  cit.  Inkersley,  81.  —  De  la  Balle  states  (without  citing  his  author- 
ity) that  a  text  of  1341  gives  the  dates  of  construction  as  1218  or  1220. 

335 


GOTHIC    MONUMENTS 

consists  of  a  nave,  double  side-aisles,  transepts,  and  a  rectangular  choir.  The 
STstem  rises  from  the  octagonal  abaci  of  the  monocvlindrical  piers.  Remarkable 
features  of  the  interior  design  are  the  triforium  with  flat  lintels  and  trilobed  arches, 
and  the  clearstory  with  trilobed  arches  and  plate  tracery.  The  vaulting  is 
quadripartite.  The  southern  portal  is  a  gorgeous  piece  of  flamboyant  lace-work 
in  which  the  hanging  arch  and  flattened  ogee  cur\-e  occur.  (De  la  Balle;  Benoist; 
Cotman.) 

CHIRY-OURSCAMP,  Oise.  Abbaye  d'Ourscamp.  The  vaults  of  this  ruined 
abbey  have  all  fallen,  but  the  choir  with  its  ambidatory  —  which  is  double  up  to  the 
point  where  the  radiating  chapels  begin  —  are  still  in  fair  preservation.  Cylindrical 
piers  and  a  continuous  system  of  three  shafts  characterize  the  chevet.  The  monu- 
ment may  be  assigned  to  the  end  of  the  XIII  century.  (Arch,  de  la  Com.  des  Mon. 
Hist.) 

FERRI£RES,  Seine-et-Mame.  £glise,  which  may  be  assigned  to  c.  1200, 
consists  of  a  nave,  two  side  aisles,  and  three  polygonal  apses  whose  vaults  are  of  the 
same  t}"pe  as  that  of  the  chevet  of  Amiens.  From  the  octagonal  abaci  of  the  mono- 
cylindrical  piers  rise  three  shafts  c-arr>-ing  the  five  ribs  of  the  quadripartite  vaults. 
The  wall  rib  has  a  capital  at  the  top  of  the  stilting.  Fhing  buttresses  are  concealed 
beneath  the  aisle  roofs.  The  triforium  consists  of  a  continuous  arcade,  the  clearstory 
of  a  series  of  oculi.  There  is  simple  tracery  in  the  western  rose  window;  elsewhere 
there  is  none.     (Baudot;  Arch,  de  la  Com.  des  Mon.  Hist.  I,  44.) 

MOXT-XOTRE-DAME.  Aisne.  Eglise  Collegiale  is  in  a  poor  state  of  preser- 
vation. The  choir,  which  was  supplied  with  an  ambulatory,  and  the  transepts  disap- 
peared in  a  fire  of  1568,  but  their  foundations  together  with  the  ancient  crypt,  which, 
although  it  has  been  called  Carolingian,  can  hardly  be  earlier  than  the  second  quarter 
of  the  XII  century-,  survive.  Also  three  bays  of  the  nave  still  stand,  without,  however, 
their  vaults  which  fell  in  1642.  From  these  ruins  it  is  evident  that  the  ancient  edi- 
fice, which  may  be  assigned  to  c.  12.30,  contained  a  western  narthex  flanked  by  two 
towers,  a  fine  clearstory  with  simple  tracerj-,  and  cylindrical  piers  on  each  of  which 
was  engaged  a  single  colonnette.  (Lefe\Te-Pontalis;  Arch,  de  la  Com.  des  Mon. 
Hist.  I.  .54.) 

CHITRY,  Yonne.  Eglise  is  of  especial  interest  for  its  fortifications,  which 
consist  of  four  flanking  towers  and  a  trench  surrounding  the  edifice.  The  church 
properly  .so-called  consists  of  a  long  narrow  unadorned  nave  said  to  date  from  the 
Xm  century  and  a  single  side  aisle  added  at  the  beginning  of  the  XIV  century. 
(Quantin.) 

BOUGTVAL,  Seine-et-OLse.  .Vcrfre  Dame  consists  of  a  nave  three  bays  long, 
two  side  ables  which  end  in  chapels  flanking  the  choir,  a  choir  of  a  single  bay 
surmounted  by  a  tower,  and  a  five-aisled  ajjse.  The  tower,  which  is  the  most 
interesting  part  of  the  monument,  Ls  surmounted  by  a  spire  with  four  angle  turrets. 
A  developed  chevet  vault  covers  the  apse.  In  the  nave  the  system  of  three  shafts 
rises  from  the  abaci  of  the  cylindrical  piers;  there  are  no  flying  buttresses;  the 
clearstorj-  windows  are  oculi.  The  portal  has  lost  all  artistic  and  archaeological 
value   through  restoration.     The  apse,  the  choir,  and   the   tower   may  be   assigned 

336 


M0XI3IEXTS   OF  THE   FOIT.TH   CLASS 

to  -.'z.r  :". :  ?'z.;  VTiri  ::  -.Ir  \  I  >  centmy;  tte  nave  is  of  flae  .X tl I  ceatiny.    (Lo^bn, 

S5:  Aj:-.  dr  :i  C;~-  cei  Mob.  ffisl.) 

MoimMESTXS  OF  'tnk'.  FousiB  CuiSB 

AMBUENY,  AisBit.  E^Me  oansklis  of  a  nate  of  foor  bajs,  two  side  aidks, 
transe- :.?,  snd  a  polj^fMial  apse.  Tlie  nxve,  wbkb  is  assigned  to  c.  1^90  bj  M-  Le- 
f  eTT e-F :  :i:.ilis,  is  diaiacteiued  by  pmnted  aidies  in  die  main  azcade,  momtM^liBdiiGsl 
pieis  with  crocheted  cajHtals,  and  sloider  shafis  iking  femn  Ae  abaa  to  sqppaii  Ibe 
ribs  of  the  Taahs.  Tbe  side  akks,  ako  'vanKed,  aie  of  Ibe  same  pednd.  Ofcr  tbe 
cpo^ng  is  a  weD^Hieseanred  rib  ^tanlt,  whicb  k  assigned  to  Ibe  last  thiid  of  iShe  XII 
centmj.  With  the  esception  of  Ibe  Tsaaik  t£  Ibe  sondiecn  tiansept  vdboilt  in  flue 
\  Ht  ceaitmy  the  tiansqiis  and  IbeiF  faults  axe  eantanpotaiif  with  Ibe  cros^^. 
The  ciioir,  exected  in  tbe  AVI  oaitoFv,  k  a  mmnmESit  fS  flie  BenaissBnoe.  Tbe 
.^  !e  with  its  fine  gabled  pottal  and  Ibe  central  loeper  axe  off  flae  XIII  centmy. 
Lefr  -e^P^italis  TL,  lU.) 

AKDEMSIES,  Cahados.  Ahbi^e.  It  is  brawn  that  c.  1913  Ibe  isanUs  of  thfe 
abbey  fell,  killing  Ibe  abbt^  and  twoity-Sve  can«is.^  A  cooqikSe  rdbnildnig;  most 
have  been  b^on,  to  judge  &om  Ibe  sihcie  of  Ibe  eskting  ediScse,  aboot  1930.  Jiean 
de  Blond  (1397-1334)  advanced  the  oonstradian  enexgetically,  hot  tte  edi&e  can- 
not ha^'e  been  finished  nntil  hmg;  afto'  bis  deaib,  for  Ibe  |wesent  fai^ade  miBt  date 
from  the  middle  of  the  AlV  century,  mbile  its  rase  window  b  evidently  even  lajbar. 
Tlus  facade  has  ot^agmal  tmr^s.  Otbertt^  Ibe  esterior  b  remai&able  for  iSie 
absence  of  %ing  bnttre^es.     (D&  la  BaOe;  Beno^  HL,  SI.) 

ST.  BAGNKDX,  Seine.  Si.  Heibdamd  orao^sts  cf  a  nave,  tnro  ade  ai^es,  a 
lateral  tow^,  and  a  inedangDlar  cbur  whose  eastemmost  bay  k  sunuuuufeed  by  a 
sespartite  vanlt.  In  the  naT«  three  shafis  me  fitnm  the  abaci  of  the  nuanoq^lindzical 
piets  to  cany  tbe  fire  ribs  of  ibe  \anlts;  in  tbe  dioir  Ibeie  are  grrnqsed  CDlonms  of 
larious  designs.  The  trifariam  has  roond  arches,  the  deai^wy  cno^ls  of  a  series 
4^  oculi.  The  flying  bottre^es  are  an  addition  of  ISiT:  Ibe  lower  fe  also  modem: 
the  pwtal  and  the  cboir  may  be  aligned  to  c  1900;  the  naic  b  sMoenbat  blar. 
(Lambin,  13.) 

NANGIS,  Seine-et-Mame.  SL  Mantim.  Tbfe  dhinrcb  of  ibe  eaily  XIII  caatnuy 
k  sap[died  with  an  ambnlatoiy.  quadripartite  Tanhs,  a  system  of  £ve  shafts  r^iii^ 
on  the  abaci  of  tbe  pieis,  cylindrical  sopports  on  eadh  of  which  are  ei^aged  four 
cidiMinettes,  a  continuot^  triforiom,  and  a  ckaisiory  of  lancet  windows.  (Aij&aoKie 
€t  Fichot,  15T.) 

NETJILLY-SOR-MARNE,  Sdne^-Ofee.  SI  Beaedik  consisJs  off  a  nate,  two 
side  aides,  a  lateral  toww,  and  a  rectangular  choir.  Tbe  rilis  «dF  tbe  quadtqnitite 
vaults  are  supported  on  shafis  rising  firom  tbe  abaci  of  tbe  monocylindrical  pkss. 
Hie  deaistory  windows  are  snnuoonted  by  lintels  sl^tty  triai^alar  in  fonn.  £s- 
temally  the  edifice  is  remarkable  for  Hs  pcxtal  wh<»e  pointed  aitbes  are  omamenlsd 
with  cbevrons  and  f cxr  the  absence  of  flying  bottresses.    Tbe  chonb  seens  to  be  a 

« Gaffi.  Chm.  XI,  col.  aSS.  cii.  Inbejsllej',  8S. 
337 


GOTHIC   MONUMENTS 

homogeneous  structure  of  the  last  quarter  of  the  XII  century.  According  to  tradi- 
tion it  was  constructed  by  Foulque,  the  cure  of  Neuilly  who  preached  the  Fourth 
Crusade.     (Lambin.) 

CHAMPIGNY,  Seine-et-Qise.  Eglise.  The  nave  is  covered  with  square  quadri- 
partite vaults  surmounting  an  alternate  system,  but  the  side-aisles  are  groin-vaulted. 
The  semicircular  apse,  which  seems  slightly  earlier  than  the  nave,  doubtless  dates 
from  the  first  years  of  the  XIII  century.     (Lambin,  32.) 

MAREIL-MARLY,  Seine-et-Oise.  Eglise  consists  of  a  nave  of  three  bays,  two 
side  aisles,  and  three  apses  of  which  the  central  one  is  polygonal.  Although  much 
modernized,  the  tower,  together  with  its  spire  and  four  angle  turrets,  seems  to  be  the 
most  ancient  part  of  the  edifice.  The  nave  is  characterized  by  quadripartite  vaults, 
monocylindrical  piers,  a  well-developed  triforium,  a  clearstory,  consisting  of  a  series 
of  oculi,  and  a  system  of  three  shafts  rising  from  the  abaci.  There  are  no  flying  but- 
tresses. The  arches  are  all  pointed,  but  the  windows  are  without  tracery.  (Arch. 
de  la  Com.  des  Mon.  Hist.  I,  52.) 

VOULTON,  Seine-et-Marne.  Eglise.  This  edifice,  constructed  at  the  end  of 
the  XII  or  beginning  of  the  XIII  century,  was  burned  in  1567  and,  even  worse,  was 
"restored"  in  1839.  It  consists  of  a  nave,  two  side  aisles,  and  three  semicircular 
apses.  The  system  is  alternate,  but  the  nave  vaults  arc  quadripartite  and  embrace 
double  bays,  except  in  the  easternmost  bay  where  there  is  an  octopartite  vault,  em- 
bracing three  bays.  All  the  vaults  are  without  wall  ribs,  but  are  reinforced  by  well- 
developed  flying  buttresses  placed  only  where  needed.  The  side  aisles  are  covered 
with  groin  vaults  supplied  with  transverse  ribs.  The  windows  are  round-headed, 
but  most  of  the  other  arches  are  pointed.  (Arch,  de  la  Com.  des  Mon.  Hist.  I,  63; 
Aufauvre  et  Fichot.) 

TILLARD,  Oise.  Eglise,  constructed  (it  is  said)  in  1340,  consists  of  a  single- 
aisled  nave  covered  with  a  wooden  roof,  and  a  polygonal  apse.  This  little  monu- 
ment is  in  excellent  preservation,  and  is  remarkable  for  the  simplicity  and 
refinement  of  its  detail.  The  tracery  of  the  windows  is  rayonnant,  though  tending 
to  become  flamboyant;  angle  buttresses  occur  in  the  apse.  (Arch,  de  la  Com.  des 
Mon.  Hist.  I,  77.) 

VERNOUILLET,  Seine-et-Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  a 
central  tower,  transepts,  and  a  rectangular  choir.  The  tower,  a  fine  Romanesque 
structure,  is  surmounted  by  a  noble  Gothic  spire  with  dormers  and  angle  turrets. 
The  nave,  of  which  only  two  bays  survive,  is  characterized  by  quadripartite  rib  vaults 
without  wall  ribs,  developed  buttresses,  monocylindrical  piers,  and  a  system  rising 
from  the  abaci.  Groin  vaults  surmount  the  side  aisles  and  the  transepts.  The  north- 
ern transept  with  its  chapel  dates  from  about  the  middle  of  the  XIII  century.  (Arch, 
de  la  Com.  des  Mon.  Hist.  I,  29;  Baudot.) 

BOULOGNE-SUR-SEINE,  Seine.  Eglise  of  the  XIV  century  consists  of  a 
single-aisled  nave,  transepts,  and  an  apse.  The  two  western  bays  of  the  nave  and 
the  fafade  are  modern.     (Lambin,  87.) 

LOUVECIENNES,  Seine-et-Oise.  Eglise  consisted  originally  of  a  nave,  two 
side  aisles,  and  a  rectangular  choir,  but  in  the  XIX  century  the  tower,  two  bays  of 

338 


I 


MONUMENTS   OF  THE   FOURTH   CLASS 

the  nave,  and  the  northern  side  aisle  were  torn  down.  The  crossing  and  the  remain- 
ing side  aisle  are  vaulted;  the  nave  is  roofed  in  wood.  The  clearstory  is  formed  of  a 
series  of  oculi.  A  remarkable  feature  is  the  rose  window  of  the  east  end.  (Arch,  de 
la  Com.  des  Mon.  Hist.  I,  51;  Baudot.) 

NESLES,  Seine-et-Oise.  Eglisc  consists  of  a  nave,  two  side  aisles,  and  a 
polygonal  apse  flanked  by  two  chapels.  The  vaults  are  sexpartite  with  stilted  wall 
ribs;  the  system  is  peculiar  in  that  the  intermediate  shafts  rise  from  the  triforium 
string  directly  over  the  crowns  of  the  arches  of  the  main  arcade.  The  alternate 
system  of  three  shafts  rests  directly  on  the  abaci.  There  is  a  continuous  triforium 
and  a  high  clearstory.  Externally,  the  main  body  of  the  edifice  is  characterized  by 
well-developed  buttresses  in  several  ressauts  and  by  the  absence  of  flying  but- 
tresses. The  interesting  central  tower  of  c.  1160  is  ornamented  with  two  stories 
of  round-arched  openings  richly  moulded  in  several  orders,  a  very  Lombardesque 
arched  corbel-table,  and  angle  buttresses  composed  of  grouped  shafts.  The  spire 
has  turrets  but  no  dormers.  The  fa9ade  is  notable  for  its  rose  window  filled  with 
beautiful  early  tracery  —  or  rather  cusping,  —  and  for  its  single  turret.  To  judge 
from  the  style  the  nave  and  choir  must  date  from  c.  1200.  (Arch,  de  la  Com. 
des  Mon.  Hist.  I,  25;  Baudot.) 

AIRES-LES-MELLO,  Orne.  Eglise  seems  originally  to  have  consisted  of  a 
nave,  two  side  aisles,  transepts,  and  a  rectangular  choir,  but  outer  side  aisles  and 
chapels  have  been  added.  The  vault  is  quadripartite;  the  system  was  probably 
originally  continuous  with  the  exception  of  the  wall  shaft  which  rose  from  the 
triforium  level.  Although  some  of  the  arches  are  round,  the  windows  are  filled 
with  plate  tracery.     (Johnson.) 

ARCUEIL,  Seine.  St.  Denis.  The  two  first  bays  of  the  nave  are  of  the  XV 
century;  the  two  which  follow  are  of  the  middle  of  the  XIII  century;  and  the  rect- 
angular choir,  two  bays  long,  is  of  the  end  of  the  XII  century.  A  triforium  occurs 
in  the  nave,  but  not  in  the  choir;  the  clearstory  consists  of  a  series  of  oculi;  the 
portal  is  modern.     (Lambin,  27.) 

PUISEAUX,  Loiret.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts,  and 
a  square  chevet  surrounded,  nevertheless,  by  an  ambulatory.  Over  the  crossing 
rises  an  octagonal  tower.  The  choir,  which  seems  to  date  from  the  last  years  of  the 
XII  century,  is  characterized  by  simple  flying  buttresses.  The  nave  built  originally 
a  little  later  has  been  altered  in  the  XIV  and  XV  centuries,  but  the  clearstory 
retains  its  ancient  lancet  windows.  (Arch,  de  la  Com.  des  Mon.  Hist.  II,  28; 
Dumesnil.) 

FEUCHEROLLES,  Seine-et-Oise.  Eglise,  with  square  east  end,  was  erected 
at  the  end  of  the  XII  century,  but  was  altered  in  the  XIII  and  XIV  centuries.  The 
quadripartite  vaults  of  the  nave  are  oblong  in  the  latitudinal  sense;  the  vaults  of  the 
side  aisles  (which  are  very  narrow)  are  oblong  in  the  longitudinal  sense.  Owing  to 
their  excessive  width  the  nave  vaults  are  highly  domed.  There  is  a  complete  set 
of  ribs,  all  of  simple  profile,  springing  from  the  system  of  three  shafts  at  a  level  above 
the  main  pier  capitals  but  below  the  true  springing  of  the  vault.  There  is  no  clear- 
story.    Externally,  the  edifice  is   characterized   by  well-developed  buttresses   and  a 


GOTHIC   MONUMENTS 

central  octagonal  tower  of  the  XII  century  with  a  spire.  (Arch,  de  la  Com.  des 
Men.  Hist.  I,  23;  Baudot.) 

BLANGY,  Seine-Inferieure.  Notre  Dame.  The  facade  of  the  XIII  or  XIV 
century  is  supplied  with  a  rose  window  and  is  flanked  by  two  stub  towers.  The  tran- 
septs, the  choir,  and  the  central  tower  are  also  of  the  Gothic  period.  In  1524  Robert 
Robitaille,  master  builder  of  Eu,  was  charged  with  the  reconstruction  of  the  entire 
south  side  of  the  nave,  said  works  to  be  completed  within  three  years.  (De  la  Balle; 
Benoist.) 

BRIE-COMTE-ROBERT.  Seine-et-Marne.  t:gUse  is  an  important  monu- 
ment which  has  unfortunately  never  been  adequately  published.  It  seems  to  date 
mainly  from  the  XIII  century,  but  has  suffered  from  Renaissance  alterations.  The 
tower  is  of  especial  interest.     (Aufau\Te  et  Fichot.) 

BOIS-COMMUN,  Loiret.  Eglisc.  The  quadripartite  vaults  are  remarkable 
in  that  the  wall  rib  is  not  stilted.  The  system  is  logical  and  continuous,  and  the 
thrust  of  the  vaults  is  met  by  salient  buttresses,  there  being  no  flying  buttresses.  Al- 
though in  general  the  profiles  are  advanced  in  style,  in  the  portal  the  round  arch  and 
the  griffe  still  survive.  I'he  triforium  consists  of  two  groups  of  two  arches;  the  clear- 
story has  lancet  windows.     (Baudot.) 

BEAUMONT-LE-ROGER,  Eure.  St.  Nicholaji.  Of  the  church  of  the  XIII 
century,  only  the  piers  on  the  south  side  of  the  nave  survive,  the  remainder  of  the  edi- 
fice having  been  rebuilt  in  the  second  half  of  the  XV  century.  An  inscription  above 
the  windows  of  the  tower  bears  the  legend  II[enri]  II,  1.'>.54:  the  choir  is  said  to  have 
been  completed  a  year  before  this,  or  in  1553.  The  tower  remains  unfijiished  to  this 
day.  The  choir  has  a  clearstory,  but  the  slope  of  the  nave  roof  is  continuous.  (De 
la  Balle;  Benoist  II,  48.) 

Pricure.  This  ruined  edifice  of  the  XIII  century  has  neither  transepts  nor  side 
aisles.     (Benoist  II,  48.) 

AZY,  Cher.  Eglise  of  the  XIII  century  consists  of  a  single-aisled  plaster-vaulted 
nave  and  a  rectangular  choir  of  two  bays.  The  choir  is  covered  with  rib  vaults;  the 
diagonal  shafts  rest  on  corbels  flanking  the  capitals.     (De  Kersers  VI,  265.) 

ALLOGNY,  Cher.  Eglise.  A  text  of  1212  which  speaks  of  "the  new  chapel 
of  AUogny,"  must  refer  to  the  j)resent  edifice.  The  church  is  a  simple  rectangular 
structure  with  square  east  end  and  a  wooden  roof.  The  western  portal  is  round-arched, 
but  the  windows  are  pointed.     (De  Kersers  \T,  194.) 

ST.-PERE-SOUS-V£ZELAY,  Yonne.  Eglise  consists  of  a  nave,  two  side 
aisles,  transepts,  and  three  polygonal  apses,  the  whole  preceded  by  a  deep  narthex 
with  three  portals.  This  narthex  was  rebuilt  in  the  XIA'^  and  XV  centuries;  the  choir 
is  of  the  end  of  the  lilV  century;  the  remainder  of  the  church  may  be  assigned  to 
c.  1230.  Although  the  vaults  are  quadripartite,  the  system  of  the  nave  is  alternate;  the 
shafts  rest  on  corbels  in  the  intermediate  supports,  elsewhere  they  are  continuous. 
The  flying  buttresses  are  very  clumsy.  The  facade  and  the  northwest  tower  seem 
reminiscent  of  Vezelay.     (Arch,  de  la  Com.  des  Mon.  Hist  II,  40;  Gonse.) 

AINAY-LE-^^EIL,  Cher.  Eglise  of  the  XIII  century,  terminates  to  the  west- 
ward in  a  massive  tower.     The  choir  and  the  nave  have  low  rib  vaults.     In  the  west- 

340 


MONUMENTS   OF  THE  FOURTH  CLASS 

ern  bay  the  ribs  rest  on  colonnettes,  but  in  the  others  they  fall  on  clumsy  corbels. 
The  vault  of  the  five-sided  apse  seems  to  have  been  added  at  the  end  of  the  XV  cen- 
tury.    The  chapel  dates  from  the  same  epoch.     (De  Kersers  VII,  174.) 

LAGNY,  Seine-et-Marne.  Ahhaye  St.  Pierre.  This  church,  which  is  supplied 
with  an  ambulatory,  was  erected  in  the  early  XIII  century,  but  the  triforium  was  in 
part  rebuilt  in  the  XIV  century,  and  the  existing  groin  vaults  of  the  nave  are  prob- 
ably modern,  since  the  five  shafts  of  the  system  rising  from  the  abaci  of  the  piers  seem 
to  have  been  designed  to  support  rib  vaults.  For  the  rest  the  nave  is  characterized 
by  piers  on  each  of  which  are  engaged  four  colonnettes  and  by  a  glazed  triforium. 
(Aufauvre  et  Fichot,  179.) 

LA-FERTE-ALEPS,  Seine-et-Oise.  Eglise  consists  of  a  single-aisled  nave, 
transepts  with  absidioles,  and  a  semicircular  apse.  Quadripartite  vaults  surmount 
the  logical  and  continuous  system,  except  in  the  apse  which  is  vaulted  with  a  chevet- 
vault.  The  external  buttresses  are  well-developed,  the  windows  all  pointed.  The 
north  lateral  tower  is  characterized  by  arched  corbel -tables,  pointed  arches,  and  a 
spire  with  plain  dormers  and  angle  turrets.     (Baudot.) 

DONNEMARIE,  Seine-et-Marne.  Eglise,  remarkable  for  the  sculpture  of  the 
portals,  consists  of  a  rectangular  choir  of  the  XIII  century,  a  lateral  tower  of  the 
same  epoch,  a  nave  (perhaps  slightly  later)  characterized  by  a  high  clearstory  and 
clumsy  fiying  buttresses,  and  two  side  aisles.     (Aufauvre  et  Fichot.) 

VIRE,  Calvados.  Notre  Dame.  Of  the  church  built  by  Henry  I  (1100-35) 
only  the  lower  part  of  the  portal  together  with  a  few  capitals  survive.  The  style  of 
the  nave  and  the  two  side  aisles  —  the  latter  were  altered  in  the  XV  century  —  seems 
to  be  that  of  the  early  XIII  century,  although  these  portions  are  said  to  have  been 
consecrated  in  1272.  The  beautiful  south  transept  is  of  the  early  XIV  century,  and 
the  tower  is  about  contemporary.  Two  distinct  strata  of  construction  —  one  of  the 
XV  century,  the  other  of  the  XVI  —  may  be  distinguished  in  the  choir.  Externally 
the  edifice  is  characterized  by  large  areas  of  flat  wall  surface  and  small  pointed  win- 
dows which  are  without  tracery  even  in  the  flamboyant  choir.  The  western  rose 
window  likewise  has  no  tracery.  The  flying  buttresses  are  unornamented,  except 
for  their  insignificant  pinnacles.  In  the  interior,  a  single  shaft  rises  from  the  abaci 
of  the  uncarved  capitals  of  the  main  arcade;  the  diagonal  ribs  of  the  great  vaults 
are  in  several  orders,  unmoulded.  The  choir  is  characterized  by  an  ambulatory, 
disappearing  mouldings,  and  the  absence  of  a  triforium.  (De  la  Balle;  Benoist  III, 
85.) 

VAUX-DE-CERNAY,  Seine-et-Oise.  Ahhaye.  This  ruined  Cistercian  abbey 
is  said  to  have  been  commenced  at  the  end  of  the  XII  century,  and  to  have  been  fin- 
ished a  hundred  years  later.  It  consists  of  a  nave,  two  side  aisles,  transepts  with  four 
eastern  absidioles,  and  a  rectangular  choir.  Pointed  arches  are  used  throughout, 
but  the  edifice  is  groin-,  not  rib-vaulted.     (Arch,  de  la  Com.  des  Mon.  Hist.  I,  60.) 

AGNETZ,  Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts,  and  a 
p6lygonal  choir.  The  nave  may  be  assigned  to  c.  1245;  the  system  of  three  shafts 
is  continuous,  the  clearstory  is  filled  with  bar  tracery,  the  flying  buttresses  have  gables. 
The  west  window,  however,  has  rayonnant  tracery,  and  is  evidently  later.     A  single 

341 


GOTHIC   MONUMENTS 

turret  relieves  the  somewhat  uitinteresting  fa9ade.  The  choir  dates  from  the  XVT 
century:  one  of  its  stained  glass  windows  bears  the  date  1540.  (Arch,  de  la  Com. 
des  Mon.  Hist.  I,  66;  Johnson.) 

LOROY,  Cher.  Abhaye.  Of  this  edifice  of  the  XIII  century  only  the  four 
great  arches  which  opened  into  the  choir  and  adjacent  cliapels  survive.  From  these 
it  is  evident  that  the  choir  walls  were  bare  and  unornamented;  that  four  square  ap- 
sidal  chapels  opened  off  the  transepts,  and  that  the  arches  were  pointed  throughout. 
(De  Kersers  III,  33.) 

ST.-JEAN-AL^-BOIS,  Oise.  Ahhaije.  Although  assigned  by  M.  Sauvageot 
to  the  reign  of  Louis  VII  (1137-90),  this  edifice  more  probably  dates  from  c.  1200. 
It  consists  of  a  single-aisled  nave,  transepts,  and  a  rectangular  choir.  Se.vpartite 
vaults  cover  the  choir  and  even  the  crossing,  a  pier  to  carry  the  intermediate  rib 
being  placed  in  the  axis  of  the  transept.  The  nave  vault,  however,  is  quadripar- 
tite; the  ribs  rest  on  corbels.  Externally  the  monument  is  characterized  by  the  well- 
developed  buttresses  of  several  ressauts,  and  by  the  lancet  windows  of  the  clearstory. 
(Baudot;  Sauvageot.) 

TRIEl,,  Seine-et-Oise.  Eglise  was  constructed  at  the  end  of  the  XII  century, 
or  perhaps  in  the  early  years  of  the  XIII;  in  the  XV  century  the  buttresses  of  the  north 
and  western  fa(,ades  were  repaired,  and  chapels  erected  along  the  southern  side  aisle; 
in  the  XVI  century  the  choir  was  demolished  and  rebuilt  in  the  Renaissance  style  at 
a  higher  level,  so  as  to  allow  a  roadway  to  pass  beneath  it;  in  modern  times  the  tower 
has  been  completely  made  over.  The  edifice  as  it  stands  is  extremely  irregular.  It 
is  vaulted  throughout;  in  the  nave,  the  system  of  five  shafts  springs  from  the  abaci 
of  the  cylindrical  piers.  The  vaults  are  abutted  by  flying  buttresses  scientifically 
adjusted,  but  unornamented  save  for  their  plain  gables.  The  triforium  is  high; 
the  windows  of  the  low  clearstory  appear  to  have  been  changed  from  lancets  into 
traceried  triangles  late  in  the  XIII  century.  (Arch,  de  la  Com.  des  Mon.  Hist. 
I,  27.) 

QUETTELIOU,  Blanche.  Si.  ]'igor.  This  parish  was  given  to  the  abbey  of 
Fecamp  in  121-1,  and  it  is  probable  that  the  present  church  was  constructed  in  the  years 
immediately  following.  Originally  the  edifice  consisted  of  a  single-aisled  nave  and 
a  rectangular  choir,  but  in  the  XV  century  a  northern  side  aisle  and  a  lateral  tower 
were  added.  The  east  end,  although  square,  is  covered  with  a  radiating  rib  vault. 
The  church  is  vaulted  throughout,  and  supplied  with  a  logical  system.     (De  la  Balle.) 

TRACY-LE-VAL,  Oise.  St.  Eloi  consists  of  a  nave,  two  side  aisles,  a  choir, 
a  semicircular  apse,  and  a  lateral  tower.  The  sanctuary  is  vaulted  in  the  Ix)mbard 
style,  but  there  is  no  system.  The  wooden-roofed  nave  has  rectangular  piers  in  two 
orders.  A  few  slightly  pointed  arches  occur  in  the  fa9ade,  although  the  greater 
number  are  round-headed.  The  gabled  porch  projects;  its  several  orders  are 
decorated  with  che^Tons  and  dentil  mouldings.  The  octagonal  tower  rests  upon  a 
square  base,  and  is  surmounted  by  a  low  p\Tamidal  roof;  its  arches  are  pointed, 
but  the  decoration  in  chevrons,  arched  corbel-tables,  etc.,  is  evidently  of  the  XU 
century.     (Baudot.) 

MONCEL    Oise.      Ahhaye  was  founded  in   1309,  and  the  church  was  conse- 

342 


MONUMENTS   OF  THE  FOURTH   CLASS 

crated  in  1337.  All  the  buildings  were,  therefore,  presumably  erected  between 
these  dates.  There  is  still  extant  the  treasury  —  a  square  vaulted  structure  in 
which  capitals  are  omitted,  —  the  chapter-house,  the  kitchen,  the  dormitory  with 
its  original  timber  roof,  fragments  of  the  cloisters,  etc.  These  are  among  the 
best  preserved  monastic  ruins  in  France. 

NOGENT-SUR-MARNE,  Seine.  St.  Satumin.  This  monument  of  the 
early  XIII  century,  much  rebuilt  in  the  flamboyant  period,  possesses  a  fine  transi- 
tional tower  with  spire.  The  edifice  itself  consists  of  an  interior  narthex,  a  nave  of 
three  bays  —  the  first  two  of  which  are  of  the  XV  century  —  two  side  aisles,  and  a 
rectangular  choir  two  bays  long.     There  is  no  clearstory.     (Lambin,  79.) 

LAIGLE,  Orne.  St.  Martin.  At  the  southwest  angle  rises  a  small  tower  of 
the  XI  century  crowned  by  a  well-developed  spire.  The  nave,  of  which  only  the  two 
ends  are  ancient,  was  erected  somewhat  later;  the  existing  choir  is  of  the  XIII  century. 
In  1494  the  northern  side  aisle  and  the  fine  northern  tower  were  constructed,  and 
in  1546-57  the  southern  side  aisle  was  added.     (De  la  Balle.) 

St.  Jean.  This  single-aisled  chapel  became  a  parish  church  c.  1350.  Later 
a  northern  side  aisle  was  constructed.  In  the  choir  survives  a  fragment  of  a  wall 
of  the  XII  century.     (De  la  Balle.) 

GROSLAY,  Seine-et-Oise.  Eglise  consists  of  a  nave,  two  side  aisles,  and  a 
polygonal  apse.  The  southern  side  of  the  first  four  bays  of  the  nave  together  with 
the  vaults  of  this  part  of  the  edifice  are  of  the  XIII  century,  the  remainder  of  the 
building  is  in  the  style  of  the  first  half  of  the  XVI  century,  —  in  fact  the  date  1542 
is  engraved  on  one  of  the  buttresses  of  the  southern  wall.  The  abaci  of  the  capitals 
of  the  XIII  century  portions  are  octagonal.  There  is  a  central  tower.  (Lambin, 
113.) 

MELUN,  Seine-et-Marne.  Notre  Dame.  The  church  of  the  XI  century  was 
not  vaulted,  but  at  the  end  of  the  XII  century  it  was  resolved  to  erect  vaults.  Con- 
sequently, the  ancient  supports  of  the  nave  were  made  over,  and  the  choir  was  entirely 
reconstructed.  In  the  times  of  the  Renaissance  the  existing  fa9ade  was  built.  At 
present,  the  system  of  the  nave  consists  of  a  single  shaft  bearing  three  ribs,  but  the 
Romanesque  system  seems  to  have  been  alternate  —  there  was  no  shaft  engaged  on 
the  nave  side  of  the  piers,  but  transverse  arches  were  probably  thrown  across  the 
aisles  from  the  alternate  piers.  The  archivolts  were  of  a  single  order,  unornamented. 
(Arch,  de  la  Com.  des  Mon.  Hist.) 

BOURAY,  Seine-et-Oise.  Eglise  consists  of  a  nave  two  bays  long  and  a  rect- 
angular choir  of  the  same  length,  both  flanked  by  side  aisles.  There  is  no  clearstory. 
The  choir  and  its  southern  aisle,  which  are  evidently  the  oldest  portions  of  the  church, 
are  assigned  to  the  first  years  of  the  XIII  century;  the  remainder  of  the  edifice  is 
flamboyant  in  style.     (Lambin,  100.) 

IDS-ST.-ROCH,  Cher.  Eglise  assigned  to  c.  1200  by  M.  de  Kersers  is  charac- 
terized by  a  cruciform  plan  and  a  s(juare  east  end.  Choir  and  transepts  are  rib- 
vaulted,  the  ribs  being  supported  by  a  complete  set  of  shafts;  the  crossing  has  a 
plaster  vault.  The  western  portal  is  round-arched.  The  church  is  supplied  with  a 
species  of  lateral  piazza  not  uncommon  in  this  region.     (De  Kersers  IV,  19.) 

343 


GOTHIC   MONUMENTS 

CHENNE\^ERES,  Seine-et"-Oise.  St.  Pierre.  The  nave,  in  which  the  pointed 
arch  is  consistently  used,  is  three  bays  long;  the  choir  consists  of  one  bay,  similar 
to  those  of  the  nave  but  smaller,  a  second  bay  much  higher,  and  a  two-sided  apse 
with  a  corner  on  axis.  The  vault  and  triforium  of  the  nave  have  disappeared,  but 
the  vault  of  the  choir,  originaOy  lower,  still  remains.  Undoubtedly  the  monument 
is  of  the  XIII  century.     (Lambin,  57.) 

LA  CELLE,  Seine-et-iSIarne.  Prieure.  Although  the  vaults  have  fallen,  the 
square  east  end  and  other  portions  of  this  edifice  of  the  late  XIII  century  survive. 
There  were  originally  three  aisles.  The  archivolts  are  remarkable  for  their  elaborate 
mouldings.     (Aufau^Tc  et  Fichot.) 

.  ST.-SAirV'EUR -LE-YICOMTE,  Manche.  Egli.w  consists  of  a  broad  nave, 
two  side  aisles,  short  transepts  over  the  southern  of  which  rises  the  lateral  tower,  and 
a  choir  as  long  as  the  nave.  The  existing  choir  vault  is  lower  than  that  originally 
planned,  being  placed  below  the  clearstory  windows  which  it  shuts  from  view,  and 
this  part  of  the  edifice  has  suffered  from  modernization  in  other  ways  as  well.  There 
are  no  flying  buttresses.  The  great  arches  of  the  crossing  are  of  the  XIII  century. 
The  nave  and  side  aisles  of  the  XV  century  are  characterized  bj'  the  omission  of  cap- 
itals, cylindrical  piers,  prismatic  and  disappearing  mouldings.     (De  la  BaUe.) 

MONTEREAU-FAUT-YONNE,  Seine-et-Mame.  Eglise  supplied  with  an 
ambulatory  and  a  very  high  clearstory,  seems  to  date  from  the  XJII  century,  but  the 
chapels  are  of  the  XV  century.  This  monument  has  never  been  adequately  described. 
(Aufauvre  et  Fichot.) 

LANGRUNE,  Calvados.  Eglise  consists  of  a  nave,  two  side  aisles,  two  tran- 
sept-like chapels,  a  centi'al  lantern,  a  choir,  a  polygonal  chevet,  and  an  ambulatory 
—  the  whole  lighted  by  absolutely  plain  lancet  windows  even  without  shafts.  An 
inscription  in  the  choir  refers  to  the  year  1298;'  the  style  of  the  architecture,  how- 
ever, indicates  that  the  building  itself  was  erected  somewhat  earlier,  probably  from 
c.  1220  to  c.  1250.  The  tower  and  spire,  although  sadly  mutilated,  are  still  superb 
designs;  indeed  the  entire  edifice  is  remarkable  no  less  for  the  perfection  of  its 
details  than  for  its  large  dimensions.  There  are  rudimentary  flying  buttresses  in 
the  nave,  so  spaced  as  to  suggest  a  sexparlite  vault.     (De  la  Balle;  Benoist.) 

Br\TLLE,  Manche.  Eglise.  The  present  choir,  which  orginally  formed  a 
separate  chapel,  was  built,  it  is  said,  in  1260.  In  the  XVI  century  it  was  connected 
with  the  ancient  church  by  the  construction  of  an  intermediate  bay  and  a  tower. 
The  ancient  choir  then  became  the  present  nave,  the  ancient  nave  being  destroyed. 
The  existing  monument  consists  of  a  single-aisled  nave  and  a  rectangular  choir.  The 
choir  shows  English  influence  in  its  lancets  and  round  abaci;  the  vault,  however, 
IS  simple.     (De  la  Balle.) 

SENS-BEAUJEU,  Cher.  Eglise,  a  fine  example  of  a  rural  church  of  c.  1200, 
consists  of  a  single  rectangle  divided  into  four  bays,  of  which,  however,  only  the  two 
easternmost  are  ancient.  The  western  tower  was  revaulted  in  the  X\T  century,  and 
at  the  same  time  several  chapels  were  added.     (De  Kersers  VII,  77.) 

'  L'an  de  grace  1298  se  monta  I'orge  du  commun  a  4  muids  et  2  setiers  que  donna  Mahant 
femme  d'Adam  Flamenc  ecuyer.  —  Cit.  De  la  BaUe. 

344 


MONUMENTS   OF  THE  FOURTH  CLASS 

CHABLIS,  Yonne.  Eglise  which  is  said  to  date  from  the  end  of  the  XII  cen- 
tury, consists  of  a  nave,  two  side  aisles,  a  choir,  and  an  ambulatory.  The  vault  is 
sexpartite;  its  ogee  arches  are  doubtless  the  result  of  alterations  executed  in  the  XVI 
century.  The  logical  system  is  alternate  and  continuous;  the  high  clearstory  is  rein- 
forced by  massive  flying  buttresses.     (Quantin.) 

COUVAINS,  Manche.  Eglise  of  the  early  Gothic  period  consists  of  a  single- 
aisled  nave,  a  central  tower  of  the  XVIII  century,  a  choir,  and  an  apse.  This  apse 
is  peculiar  in  being  polygonal  internally,  square  externally.  Two  piers  are  so  placed 
as  to  transform  the  internal  polygon  into  a  square;  these  are  joined  to  the  walls 
by  open  arches,  the  interior  plan  being  thus  perfectly  evident  externally.  (De  la 
Balle.) 

FONTAINE-GUERARD,  (near  Radepont),  Eure.  Abbaye.  The  ruins  of 
this  abbey  are  a  fine  example  of  XIII  century  architecture.  English  influence  is 
evident  in  the  details;  the  archivolts  are  much  moulded  and  rest  on  piers  surrounded 
by  eight  colonnettes;  there  is  no  system.     (De  la  Balle;  Benoist  II,  76.) 

ST.  SEVER,  Calvados.  Abbaye,  with  the  exception  of  certain  flamboyant  addi- 
tions of  little  importance,  is  an  homogeneous  edifice  of  the  XIII  century.  The  edi- 
fice is  characterized  by  the  narrow  lancet  windows  of  the  choir  (these  still  contain 
their  original  glass),  by  the  absence  of  an  ambulatory,  by  the  unfinished  octagonal 
central  lantern  on  squinches,  by  the  monocylindrical  piers  with  round  abaci,  and 
by  the  system  of  a  single  shaft  resting  upon  corbels  placed  just  above  the  main 
impost  level.     (De  la  Balle;  Benoist  III,  90.) 

£PAU,  Sarthe.  Abbaye  consists  of  a  nave,  two  side  aisles,  transepts,  six  apsidal 
chapels,  and  a  rectangular  choir.  The  nave  is  assigned  to  the  end  of  the  XFV  century; 
the  transepts,  which  are  as  long  as  the  choir  and  nave  put  together,  retain  some  frag- 
ments of  the  XIII  century  architecture.  There  are  no  towers  nor  flying  buttresses, 
although  the  church  is  vaulted  throughout.  The  ribs  are  gathered  on  a  single  con- 
tinuous shaft.  The  east  window  of  the  choir  is  filled  with  fine  rayonnant  tracery. 
(Ricordeau:  Wismes.) 

MORET,  Seine-et-Marne.  Eglise.  Although  there  is  a  tradition  that  a  dedi- 
cation of  this  church  took  place  in  1166,  the  earliest  parts  of  the  present  edifice  doubt- 
less date  from  the  early  XIII  century.  The  existing  structure  consists  of  a  nave, 
two  side  aisles,  transepts,  a  southern  lateral  tower,  a  choir,  and  an  apse.  An  ogee 
arch  occurs  in  the  western  bay  of  the  main  arcade,  and  the  portal  is  also  flamboyant. 
The  clearstory  is  pierced  in  each  bay  by  coupled  windows  surmounted  by  an  oculus. 
(Pougeois;  Aufauvre  et  Fichot.) 

ROUVRES,  Calvados.  Eglise.  The  spire  of  the  XIV  century  is  one  of  the  mas- 
terworks  of  Gothic  design,  although  the  transition  from  square  to  octagon  is  not  man- 
aged very  skilfully.  The  main  body  of  the  church  consists  of  a  choir  and  a  nave 
whose  axes  far  from  coinciding  form  so  sharp  an  angle  that  from  the  nave  only  a  part 
of  the  choir  can  be  seen.  Obviously  these  two  portions  of  the  church  are  not  con- 
temporary: the  choir  and  the  north  transept  probably  date  from  the  XIII  century; 
the  nave  and  the  south  transept  from  the  XIV.  The  colonnettes  of  the  jambs  of  the 
western  portal  stand  free,  and  are  crowned  by  capitals  with  round  abaci.    (De  la  Balle.) 

345 


GOTHIC   MONUMENTS 

MORTAIN,  Blanche.  Eglise,  which,  with  the  exception  of  a  portal  of  the  XII 
century  and  the  ambulatory  and  lady  chapel  apparently  later  than  the  main  body 
of  the  edifice,  dates  from  the  first  half  of  the  XIII  century,  consists  of  a  nave  of  five 
bays,  two  side  aisles,  a  choir  of  three  bays,  and  an  ambulatory.  The  style  of  the 
building,  singularly  severe  and  bare,  is  very  unlike  that  of  the  He  de  France:  there 
are  no  flying  buttresses;  the  vaults  are  without  wall  ribs;  the  system  is  carried  on 
the  octagonal  abaci  of  the  monocylindrical  piers:  the  lancet  windows  are  unoma- 
mented  save  for  shafts  in  the  jambs;  the  tower,  which  stands  detached  to  the  south, 
contains  a  single  story  of  lancet  windows  of  enormous  height;  the  fa9ade  is  entirely 
unornamented.     (De  la  Balle.) 

]VL\I1EILLES,  Seine-et-Oise.  Eglise  consists  of  a  nave  of  three  bays,  two  side 
aisles,  a  choir,  a  polygonal  apse,  and  a  northern  lateral  tower  which  is  contemporary 
with  the  church,  although  its  arches  are  round  while  those  of  the  main  body  of  the 
edifice  are  pointed.  Quadripartite  vaults  cover  the  nave;  their  full  set  of  ribs  is  car- 
ried on  a  system  of  three  shafts  rising  from  the  square  abaci  of  the  monocylindrical 
piers.  Except  in  the  apse  the  walls  ribs  are  not  stilted.  There  are  no  flj'ing  buttresses; 
the  exterior  buttresses,  however,  are  well  developed,  those  of  the  choir  being  in  three 
ressauts.  The  triforium  is  very  high,  but  the  clearstory  consists  of  a  series  of  oculi. 
The  ribs  and  archivolts  have  developed  Gothic  mouldings,  and  a  cusped  rose  win- 
dow is  pierced  in  the  facade.  Che\Tons  and  crude  capitals  characterize  the 
Romanesque  portal.     (Baudot.) 

YILLENEm'E-LE-COMTE,  Seine-et-:Mame.  Eglise,  of  the  middle  of  the 
XIII  century,  consists  of  a  nave,  two  side  aisles,  three  apses,  and  a  tower  rising  over 
the  third  bay  of  the  northern  side  aisle.  Before  the  main  portal  there  was  formerly 
a  porch,  some  debris  of  whose  arches  is  stUl  in  place.  Except  for  the  main  apse, 
which,  though  polygonal,  is  supplied  with  a  chevet  vault  of  the  Noyon  type,  the  edi- 
fice is  entirely  covered  with  quadripartite  vaults  with  stilted  wall  ribs.  These  vaults, 
however,  are  not  reinforced  by  flying  buttresses.  While  the  triforium  is  well- 
developed,  the  clearstory  is  nothing  more  than  a  series  of  oculi.  Four  colormettes 
are  engaged  upon  the  monocylindrical  piers;  from  the  abaci  rises  a  system  of  three 
shafts.  The  profiles  of  the  main  archivolts  are  unusually  complicated.  (Arch,  de 
la  Com.  des  Mon.  Hist.  I,  61 ;  Aufau^Te  et  Fichot.) 

BAYEUX,  Calvados.  Cliapelle  du  Seminaire.  This  singular  monument  of 
the  XIII  centur}'  consists  of  a  single-aisled  nave  and  two  nearly  equal  absidioles. 
The  vaults  are  almost  square  in  plan;  the  three  ribs  are  carried  on  a  single 
shaft. 

Ahhaye  St.  Vigor.  Some  ruins  of  the  conventual  buildings  are  said  to  remain. 
(De  la  Balle.) 

CRENEY,  Aube.  St.  Avenlin  consists  of  a  nave  of  five  bays,  two  side  aisles, 
a  three-sided  apse,  and  a  tower  rising  over  the  third  bay  of  the  nave.  The  western 
bay  of  the  nave  is  modem,  although  the  old  portal  of  the  XIII  century  is  preserved; 
the  four  eastern  bays  are  of  the  first  years  of  the  X\T  century;  the  Renaissance  side 
portal  dates  from  1557;  the  tower  is  of  the  XHT  century,  its  fine  stained  glass  of  the 
X^^  century.     The  piers  of  the  nave  are  monocylindrical;  the  vaults  are  simple. 

346 


MONUMENTS   OF  THE  FOURTH  CLASS 

The  three  aisles  are  of  about  equal  height,  the  gables  of  the  side  aisles  being  at  right 
angles  to  the  axis  of  the  nave.     (Fichot  I,  1.) 

ROZOY,  Seine-et-Marne.  Notre  Dame.  This  edifice  of  the  early  XIII  cen- 
tury consists  of  a  nave,  two  side  aisles,  and  three  apses.  The  vault  is  sexpartite,  with 
wall  ribs.  The  system  is  alternate:  in  the  intermediate  piers  the  transverse  shafts 
rise  from  corbels  placed  just  above  the  capitals  of  the  main  arcade,  the  wall  shafts 
rest  on  corbels  at  the  level  of  the  capital  of  the  transverse  shaft;  in  the  alternate  piers 
the  system  is  logical  and  continuous.  Lancet  windows  constitute  the  clearstory.  The 
details  of  the  capitals  and  profiles  are  fine.     (Aufauvre  et  Fichot,  201.) 

fiCOUIS,  Eure.  Eglise  Collegiale  was  founded,  it  is  said,  by  Enguerrand  le 
Poitier  de  Marigny  in  1307,  and  dedicated  in  1310.  The  interior  was  unfortunately 
made  over  in  1730;  the  present  brick  vault  makes  one  regret  the  primitive  wooden 
roof.  Originally  the  edifice  consisted  of  a  single-aisled  nave,  transepts,  and  a  polyg- 
onal apse,  but  in  the  XVI  century  a  sort  of  side  aisle  or  chapel  was  added  to  the 
south  of  the  nave.  The  church  contains  fine  rayonnant  tracery,  although,  except  in 
the  west  fa9ade,  the  windows  are  small.  The  fa9ade  is  flanked  by  two  towers.  (De 
la  Balle.) 

SARCELLES,  Seine-et-Oise.  Eglise,  one  of  the  most  interesting  medieval  edi- 
fices of  the  immediate  environs  of  Paris,  contains  a  western  portal  of  the  Renaissance, 
a  nave  four  bays  long  of  the  XIII  century,  two  Gothic  side  aisles  and  a  rectangular 
choir  of  the  end  of  the  XII  century  surmounted  by  a  tower  of  the  same  epoch.  (Lam- 
bin,  111.) 

MONTEBOURG,  Manche.  St.  Jacques.  This  monument  of  the  early  XIV 
century  consists  of  a  nave  five  bays  long,  two  side  aisles,  transepts,  and  a  rectangular 
choir  of  four  bays.  Four  colonnettes  are  engaged  on  each  of  the  piers.  There  is 
no  clearstory,  but  the  church  is  vaulted  throughout.     (De  la  Balle.) 

MICHERY,  Yonne.  Eglise,  a  fine  example  of  a  rural  parish  church  of  the 
end  of  the  XII  century,  consists  of  a  rectangular  choir,  a  nave,  two  side  aisles,  and 
a  western  narthex  surmounted  by  a  tower.  The  sexpartite  vaults  are  not  reinforced 
by  flying  buttresses.  The  intermediate  piers  are  monocylindrical,  the  alternate 
supplied  with  engaged  colonnettes.  There  is  no  clearstory,  although  the  side  aisles 
are  decidedly  lower  than  the  nave.     (Arch,  de  la  Com.  des  Mon.  Hist.  II,  20.) 

ST.-SAUVEUR-LANDELIN,  Manche.  Eglise,  which  dates  from  the  end  of 
the  XIII  or  early  XIV  century  and  is  one  of  the  largest  of  the  district  of  Coutances, 
consists  of  a  rectangular  choir,  transepts,  a  nave,  two  side  aisles,  and  a  central  west- 
ern tower  preceded  by  a  porch  of  the  XV  century.  The  tower  and  the  vaults  of  the 
nave  were  added  in  the  flamboyant  period.  There  are  no  flying  buttresses.  (De  la 
Balle.) 

COUCY-LA-VILLE,  Aisne.  Eglise.  The  choir  and  the  tower  which  sur- 
mount it  are  of  the  end  of  the  XII  century;  the  remainder  of  the  church  is  a  patch- 
work of  different  epochs,  interesting  only  for  the  fragments  of  mural  paintings  which 
it  contains.     (Vernier,  186.) 

USSY,  Calvados.  Eglise.  This  remarkable  monument  of  the  XIII  or  early 
XrV  century,  although  without  side  aisles,  is  one  of  the  largest  ecclesiastical  edifices 

347 


GOTHIC   MONUMENTS 

of  the  neighborhood.  Beneath  the  central  tower  is  a  vault,  the  only  one  in  the  build- 
ing. The  fine  western  portal  shows  English  influence  in  its  free-standing  shafts, 
round  abaci,  and  continuous  archivolts.     (De  la  Balle;  Benoist  III,  83.) 

MONTREUIL,'  Seine.  St.  Pierre.  The  rectangular  choir,  which  is  said  to 
be  of  the  end  of  the  XII  century,  is  four  bays  long,  and  has  monocylindrical  piers. 
Its  triforium  consists  of  three  arches  pierced  in  each  bay.  The  existing  nave  is  flam- 
boyant.    (Lambin,  66.) 

SER!^L\ISES,  Loiret.  Eglise  opnsists  of  a  nave,  two  side  aisles,  and  a 
rectangular  choir,  all  covered  with  quadripartite  rib  vaults.  There  is  no  clear- 
story, and  the  facade  gable  is  continuous.  The  buttresses  are  well  developed. 
A  system  of  three  shafts  rests  upon  the  abaci  of  the  capitals  of  the  main  arcades. 
(Baudot.) 

BEAUMONTEL,  Eure.  Eglise.  The  square  east  end  is  pierced  by  three  lan- 
cets of  the  XR'  century,  but  the  nave  windows  are  modern.  The  tower  with  its  spire 
is  a  fine  piece  of  flamboyant  design.     (De  la  Balle.) 

jNLAREII^SUR-MAULDRE.  Seine-et-Oise.  Eglise  consists  of  a  single- 
aisled  nave,  transepts,  a  central  tower,  a  choir  and  a  polygonal  apse.  The  ribs  of 
the  apse  vault  are  arranged  like  those  of  the  chevet  of  Amiens,  but  the  wall  arches 
are  so  low  that  the  whole  construction  still  retains  something  of  the  appearance  of  a 
dome.  Although  the  buttresses,  which  are  well  developed  and  of  several  ressauts, 
seem  to  form  part  of  the  original  construction  — ■  which  may  be  assigned  to  c.  1180  — 
the  existuig  system  appears  to  be  a  later  addition.  Round-arched  windows  occur  in 
the  apse  and  transepts,  but  all  the  structural  arclies  are  pointed.     (Baudot.) 

ITTEVILI.,E,  Seine-et-Oise.  St.  Germain.  This  church,  seven  bays  long, 
consists  of  a  nave,  two  side  aisles,  and  a  rectangular  choir.  The  monument  dates 
from  the  XIII  century,  but  the  vaults  were  remade  in  the  XVI  century,  and  the  edi- 
fice has  otherwise  been  much  modernized.  The  monocylindrical  piers  have  square 
abaci.     (Lambin,  96.) 

RAjMPILLON,  Seine-et-Mame.  Eglise.  The  fafade,  remarkable  for  the 
sculptures  of  its  magnificent  portal  of  the  XIII  century,  is  without  towers.  For  the 
rest  the  church  possesses  a  considerable  clearstory  and  fine  fl\Tng  buttresses.  (Au- 
fauvre  et  Fichot,  151.) 

COiMPILGNE.  Oise.  St.  Jacques.  This  church,  commenced,  it  is  said,  c. 
1200,  was  finished  only  when  the  cupola  was  completed  in  the  X^T  century.  The 
fine  tower  (which  adjoins  the  fa9ade)  is  flamboyant,  but  in  the  main  body  of  the  edi- 
fice fragments  of  Xm  century  architecture  survive  in  certain  windows,  in  the  trifo- 
rium, and  in  the  sexpartite  vaults.     (Ballyhier.) 

St.  Nicolas.  The  modern  edifice  of  this  name  situated  in  the  Rue  du  Vieux- 
Pont  contains  an  ancient  fafade  of  the  Xm  century.     (Ballyhier.) 

DOULLENS,  Somme.  St.  Pierre.  The  nave,  a  charming  construction  of 
the  early  years  of  the  XIII  century,  still  exists,  though  desecrated,  and  traces  of  the 
projecting  transepts  and  of  the  ambulatory  may  still  be  made  out.  The  piers  con- 
sisted of  coupled  columns.     There  seem  to  have  been  no  buttresses,  though  the  nave 

'  Or  Montreuil-sous-Bois. 
348 


MONUMENTS   OF  THE  FOURTH   CLASS 

and  side  aisles  were  both  vaulted.  The  system  of  three  shafts  carried  five  ribs.  The 
surviving  details  are  of  great  purity  and  beauty.     (Durand.) 

BRIENNE,  Aube.  St.  Pierre  et  St.  Paul  in  the  main  dates  from  the  end  of  the 
XIII  century,  but  the  lower  part  of  the  tower  and  the  nave  were  reconstructed  at 
the  end  of  the  XIV  or  beginnning  of  the  XV  century,  the  choir  with  its  seven  radia- 
ting chapels  were  altered  in  the  XVI  century,  the  whole  monument  was  much  muti- 
lated in  the  Renaissance  period,  and  the  upper  parts  of  the  tower  are  modern.  The 
choir  has  never  been  completed;  its  walls  have  been  erected  only  as  far  as  the 
base  of  the  clearstory  windows.  The  flying  buttresses  of  the  nave  are  of  simple 
type.     (Arnaud,  56.) 

ECOUCHE,  Orne.  Eglise.  The  nave  of  this  church  dates  from  the  XIII 
century,  but  the  apse  and  the  transepts  (which  are  polygonal  in  plan)  were  rebuilt 
after  1416.  The  monocylindrical  piers  of  the  nave  support  unmoulded  pointed  arches. 
Much  of  the  tracery  of  the  choir  is  Renaissance  in  character,  but  the  flying  buttresses 
are  simple.     (De  la  Balle;  Benoist  IV,  19.) 

CLfiMONT,  Cher.  Eglise  consists  of  a  nave,  two  side  aisles,  a  choir,  and  a 
polygonal  apse.  The  eastern  portions  seem  to  be  of  the  XTV  century;  the  aisles 
and  the  western  bays  of  the  nave  were  added  to  the  original  edifice  probably  in  the 
XV  century.  In  general  the  edifice  is  characterized  by  angle  buttresses  and  a  fine 
flamboyant  west  portal.     (De  Kersers  I,  109.) 

MAIZIERES,  Calvados.  Eglise.  The  nave  is  of  the  XIII  century,  but  the 
interest  of  the  edifice  centers  in  its  tower  and  spire  which  together  form  a  superb 
■  group.     This  docker  must  date  from  the  end  of  the  XIII  century.     (De  la  Balle.) 

PETIT-ANDELY,  Eure.  St.  Sauveur.  The  first  stone  of  this  edifice  is 
said  tohave  been  laid  in  1215  —  a  date  which  is  confirmed  by  the  style  of  the  archi- 
tecture. The  choir  with  its  ambulatory,  the  crossing,  and  the  lower  story  of  the 
transepts  must  have  been  finished  soon  after.  Works  then  seem  to  have  been  inter- 
rupted for  a  brief  period,  but  the  transepts  and  nave  were  finished  by  1245.  The 
church  as  it  stands  is  a  splendid  example  of  a  small  country  church  of  the  XIII  cen- 
tury, and  doubly  interesting  in  that  it  contains  some  fine  glass  of  the  XIII  century 
and  a  bell  of  1462.  The  choir  has  a  logical  system  of  three  shafts  rising  from  corbels 
placed  just  over  the  square  abaci  of  the  monocylindrical  piers.  There  is  a  fine 
triforium  and  a  lofty  clearstory  filled  with  plate  tracery.  In  the  chevet  the  caps  of 
the  wall  ribs  are  placed  at  the  summit  of  the  stilt.  The  clearstory  wall  is  entirely 
eliminated.  The  flying  buttresses  have  pinnacles,  but  are  otherwise  unornamented. 
In  the  nave  (which  is  only  two  bays  long)  the  triforium  is  omitted,  and  clustered 
piers  are  substituted  for  columns.  In  the  triforium  of  the  choir  are  distinct  traces  of 
ancient  frescoes;  over  the  western  portal  is  some  ornate  sculpture.     (De  la  Balle.) 

ECAQUELON,  Eure.  St.  Jacques.  There  is  documentary  evidence  that  a 
dedication  of  this  church  took  place  in  1248,^  but  the  edifice  was  so  thoroughly  re- 
stored at  the  commencement  of  the  XVI  century,  that  there  remain  of  the  Gothic 

1  VIII  non.  Septembris  apud  Esquaquelon  cum  expensis  parrochie.  Ipsa  die,  dedicavi- 
mus  ecclesiam  Beatae  Mariae  ejus  loci.  —  Regest.  Visit.  Archiep.  Rothamag.,  p.  8,  Edition 
Bounin.     The  title  of  the  church  was  changed  later  to  St.  Jacques. 

349 


GOTHIC   MONUMENTS 

period  only  the  walls.  An  inscription  placed  on  one  of  the  beams  of  the  nave  roof 
reads  as  follows:  "In  the  year  1510  this  nave  was  repaired.  Th.  Lalement  and  Sem- 
elaigne  worked  upon  it."  '  The  square  tower  is  evidently  of  this  same  epoch.  (De 
la  BaUe.) 

COLOMBY,  Manche.  Eglise  which  consists  of  a  single-aisled  nave,  a  central 
tower  sm'momited  by  a  spire,  and  a  rectangular  choir  may  well  date  from  the  early 
XIII  century,  for  it  is  characterized  by  shafting,  lancet  windows,  and  a  logical  system. 
The  vault  is  supplied  with  a  ridge  rib,  and  the  wall  ribs  are  not  stilted  —  both  peculiar- 
ities which  show  the  influence  of  English  models.     (De  la  Balle.) 

VESLY,  Manche.  St.  Pierre  consists  of  a  nave  of  the  beginning  of  the  XIV 
century,  two  side  aisles,  a  choir  of  the  middle  of  the  X\'  century,  a  central  tower,  and 
a  polygonal  apse.  The  choir  has  no  triforium,  but  a  clearstory  consisting  of  a  row 
of  blind  arches.     There  are  no  flying  buttresses.     (De  la  Balle.) 

PONTAUBERT,  Yonne.  Eglise.  This  "monument  historique"  seems  to 
date  from  the  early  XHI  century,  and  is  said  to  have  been  erected  by  the  Templars. 
It  is  characterized  by  a  simple  porch  of  the  X\T  century,  a  charming  Romanesque 
portal,  and  a  lofty  tower. 

BALLEROY,  Calvados.  Eglise  is  said  to  be  of  the  XIII  century  and  "full  of 
grace  anrl  harmony."     (Benoist  HI,  115.) 

STE.  SOLANGE,  Cher.  Eglise  of  which  the  most  ancient  parts  date  from 
the  end  of  the  XH  century,  consists  of  a  rectangular  choir,  a  nave,  and  a  western 
narthex  surmounted  by  a  tower  and  spire.  The  nave  and  choir  alike  are  roofed  in 
wood.  The  date  1600,  inscribed  on  one  of  the  buttresses  on  the  south  side,  indicates 
that  considerable  alterations  were  carried  out  at  that  epoch.  Decidedly  the  most 
interesting  part  of  the  edifice  is  the  transitional  tower.     (De  Kersers.) 

COUM^LLE,  Manche.  Eglise  consists  of  a  single-aisled  nave,  a  rectangular 
choir,  and  a  north  lateral  tower.  In  the  triumphal  arch  are  embedded  some  frag- 
ments of  architecture  in  the  style  of  the  XII  century,  but  the  nave  and  choir  are  of 
the  Xni  century.     (De  la  Balle.) 

CHARTENTONAY,  Cher.  Eglise.  The  nave  seems  to  be  of  the  XHI  cen- 
tury, but  the  eastern  portions  of  the  edifice  were  reconstructed  in  the  late  flamboy- 
ant period.  The  apse  is  three-sided;  the  vaults  of  the  choir  have  been  replaced  by 
a  wooden  ceiling.     (De  Kersers  VI,  272.) 

BELLOY,  Seine-et-Oise.  Eglise.  The  north  transept  is  of  the  end  of  the  XII, 
the  choir  and  the  southern  transept  of  the  beginning  of  the  XR',  the  nave  and  the 
fafade  of  the  X^T,  century.     (Arch,  de  la  Com.  des  Mon.  Hist.  I,  86.) 

OMOmTLLE-LA-ROGUE,  Manche.  Eglise,  of  the  beginning  of  the  XIH 
centiu-y,  consists  of  a  nave  of  three  bays,  a  rectangular  choir  covered  by  an  octopar- 
tite  vault,  a  central  tower,  and  a  lateral  chapel.  Two  porches  open  off  the  choir. 
The  arches  are  consistently  pointed  throughout  the  edifice.     (De  la  Balle.) 

MOROGNES,  Cher.  Eglise  consists  of  a  western  tower,  a  single-aisled  nave,  a 
three-sided  apse,  and  two  chapel-like  transepts  added  in  the  XV  century.  No  part 
of  the  construction  seems  earlier  than  the  end  of  the  XIII  century.     The  choir  and 

1  L'an  mil  cinq  cents  dix  fust  reparee  cette  nef.    Th.  Lalement  et  Semelaigue  tr. 

350 


MONUMENTS   OF  THE  FOURTH  CLASS 

apse  are  vaulted  with  a  single  radiating  rib  vault,  the  ribs  all  emanating  from  a  com- 
mon center  much  to  the  east  of  the  true  center  of  the  vaulting  surface;  the  nave  is 
roofed  in  wood.  The  octagonal  tower  is  severe  in  style,  but  is  reinforced  by  angle 
buttresses.     (De  Kersers.) 

SEGRIE,  Sarthe.  Notre  Dame  consists  of  a  rectangle  divided  into  five  bays: 
over  the  third  of  these  rises  the  tower;  the  fourth  has  been  transformed  into  a  sort  of 
crossing  by  the  addition  of  two  transept-like  chapels ;  the  fifth  forms  the  choir.  The 
church  is  rib-vaulted  throughout.  In  the  west  fa9ade  opens  the  great  pointed  por- 
tal, of  which  the  decoration  is  in  the  style  of  the  XII,  rather  than  in  that  of  the  XIII, 
century.     According  to  Le  Paige  this  church  was  consecrated  in  1^42.     (Guicheux.) 

PROVINS,  Seine-et-Marne.  Ste.  Croix.  This  "monument  historique"  is  said 
to  date  mainly  from  the  XIII  century,  although  the  date  1538  engraved  on  one  of  the 
buttresses  of  the  south  side  proves  that  a  reconstruction  took  place  in  the  XVI  cen- 
tury. This  is  said  to  have  lasted  from  1519  to  1581.  The  church  is  roofed  in  wood. 
The  lateral  portal  is  a  fine  example  of  the  late  flamboyant  style.     (Du  Sommerard.) 

Notre  Dame-dii-Val.  Of  this  church,  destroyed  before  the  Revolution,  only  the 
tower  remains.     This  at  present  serves  as  a  belfry  for  the  church  of  St.  Ayoul. 

ENNORDRE,  Cher.  Eglise  of  the  XII  and  XIII  centuries,  is  characterized 
by  a  wooden-roofed  nave  and  a  polygonal  chevet  deviating  to  the  north  (the  latter 
has  recently  been  modernized).  The  most  interesting  portion  of  the  edifice  is  the 
vaulted  chapel  with  an  apse,  placed  beneath  the  tower.  This  seems  to  date  from 
the  end  of  the  XIII  century,  and  is  a  late  instance  of  such  a  feature.  (De  Kersers 
III,  15.) 

Chapelle  St.  Georges,  an  edifice  of  the  end  of  the  XIII  century,  is  a  plain  rect- 
angular structure  roofed  in  wood.  Nevertheless  the  walls  are  reinforced  by  buttresses. 
(De  Kersers  III,  16.) 

STE.  TIIORETTE,  Cher.  Eglise  consists  of  a  semicircular  apse,  a  choir,  a 
nave  four  bays  long,  and  a  southern  lateral  tower.  The  apse  is  vaulted  with  a  half- 
dome,  the  choir  with  a  pointed  barrel  vault,  the  nave,  which  may  be  assigned  to  late 
in  the  XIII  century,  with  rib  vaults.     (De  Kersers  V,  312.) 

Prieure  is  much  ruined.  The  narrow  choir  opened  upon  a  rectangular  wooden- 
roofed  nave.     (De  Kersers  V,  312.) 

LIEUSAINT,  Manche.  Eglise  consists  of  a  single-aisled  nave  with  thatched 
roof,  a  choir  with  a  square  east  end,  and  a  tower  en  bdtiere  rising  between  the  nave 
and  choir.  The  construction  may  be  assigned  to  the  last  quarter  of  the  XIII  cen- 
tury. Internally  the  two  bays  of  the  choir  are  rib-vaulted.  On  the  keystone  of  one 
of  these  vaults  may  be  read  the  following  inscription:  —  "In  the  year  1312  this  altar 
was  erected  anew."  *     (De  la  Balle.) 

ARGENT,  Cher.  Eglise.  Of  the  original  single-aisled  edifice  of  the  XIII  cen- 
tury, only  the  lower  part  of  the  walls  survives,  the  church  having  been  rebuilt  in 
the  XV  century,  when  the  apse  was  reconstructed  on  a  polygonal  plan,  two  chapels 
each  of  two  bays  added  on  either  side  of  the  nave,  the  nave  itself  given  a  clearstory 
and  a  vault,  and  the  western  tower  begun. 

'  Le  an  MCCCXII  fut  cest  austel  faict  tout  neuf. 
351 


GOTHIC   MONUMENTS 

SOULANGY,  Calvados.  J-^.glise,  of  which  only  the  choir  is  vaulted,  contains 
finely  carved  capitals.  The  construction  .seems  to  date  from  the  middle  of  the  XIII 
century.     (Benoist  lU,  23.) 

VAUDES,  Aube.  Egliae.  The  Romanesque  naye  has  neither  side  aisles  nor 
vaults.  The  choir,  however,  is  large  and  elegant;  it  consists  of  a  rib-vaulted  bay 
and  a  five-sided  apse,  and  is  flanked  by  two  square  chapels.  The  church  contains 
glass  of  the  XVI  century.     (Amaud,  81.) 

PREOLLY,  Seine-et-ilame.  Ahhaye.  Ruins  of  the  rectangular  choir  of  the 
Xni  century  survive.     (Aufauvre  et  Fichot,  Wi.) 

HUMBLIGXY,  Cher.  Eglise  of  the  XIII  century,  consists  of  a  single-aisled 
nave  roofed  in  wood  and  much  modernized,  a  rib-vaulted  choir  of  two  bavs,  and  an 
apse.  The  windows  of  the  choir  are  round-arched;  the  ribs  are  carried  on  corbels. 
(De  Kersers  R',  307.) 

ST.  LLMIER,  !Marne.  Eglise  consists  of  a  nave,  two  side  aisles,  transepts,  a 
central  tower,  and  three  polygonal  apses  covered  with  radiating  rib  vaults  of  the 
Amiens  t\-pe.     The  buttresses  are  in  several  ressauts.     (Baudot.) 

CRETEIL,  Seine-et-Oise.  A'(//!.se,  which  is  said  to  date  from  the  XII  to  theXr\' 
centuries,  comprises  a  nave  of  four  bays  and  a  choir  of  two.  In  the  nave  there  is  a 
triforium,  consisting  of  three  arches  to  each  bay,  but  this  is  not  continued  in  the  choir. 
(Lambin.  G2.) 

PONT-DE-L"ARCHE,  Eurc.  Ahhaye  Bou-PoH.  The  dedication  of  this  abbey 
is  said  to  have  taken  place  in  1224.  Some  traces  of  the  church  and  extensive  remains 
of  the  conventual  buildings  still  survive.     (De  la  Balle;  Benoist  II,  38.) 

NORMAXATLLE,  Seine-Inferieure.  Eglise.  The  choir  is  said  to  be  an 
admirable  example  of  the  architecture  of  the  XR"  century. 

VILLEXEUVE-L"ARCHEV£QUE,  Yonne.  Eglise  contains  a  superbly  sculp- 
tured portal  of  the  Xlll  centurj-. 

ST.-:\L\l'R-DES^FOSSES,  Seine.  St.  Nicolas,  an  edifice  of  the  early  XIH 
century,  consists  of  a  nave  with  two  large  roimd-arched  arcades  on  the  south  side,  a 
single  side  aisle,  a  rectangular  choir  three  bays  long  apparently  somewhat  earlier 
than  the  nave,  and  a  Romanesque  tower  flanking  the  choir  on  the  south  side. 
Before  the  western  portal  is  a  porch  of  the  XIV  century.     (Lambin,  75.) 

HARCOURT.  Eure.  'S/.  Oven.  The  semicircular  apse  consisting  of  a  series 
of  lancets  separated  by  buttresses  is  of  the  XIII  century:  the  nave  is  about  contem- 
porary: the  fa9ade  is  of  the  X^^  century;  the  tower  probably  dates  from  the  XIU 
century,  and  originally  stood  detached  from  the  building.     (De  la  Balle.) 

PERSEIGXE,  Sarthe.  Ahhaye  assigned  to  the  XII  century  is  much  ruined, 
the  two  transept-ends  and  the  foundations  only  remaining  in  situ.  The  edifice, 
which  was  a  typical  example  of  Cistercian  architecture,  comprised  a  square  east  end 
and  transeptal  chapels.     (Fleury.) 

ASXIERES,  Cher.  Eglise.  The  walls  of  this  ancient  edifice  survive,  and  are 
embedded  in  the  masonry  of  a  modem  store.  The  rectangular  choir  is  rib-vaulted, 
and  must  have  been  erected  in  the  Xm  century.     (De  Kersers  ^TI,  15.) 

LARCHAX'T,  Seine-et-Marne.     £glise.     This  partly  ruined  edifice  of  the  XUI 

352 


MONUMENTS  OF  THE  FOURTH   CLASS 

century  is  characterized  by  transepts,  a  polygonal  apse,  and  a  remarkably  fine 
boyant  tower.     (Aufauvre  et  Fichot.) 

FAVERDINES,  Cher.  Eglise,  with  the  exception  of  the  western  portal  of  the 
XII  century,  is  an  edifice  of  the  XIV  or  XV  century.  The  choir  and  nave  form  two 
rectangles,  each  divided  into  two  rib-vaulted  bays.  The  prismatic  ribs  are  supported 
by  shafts.     On  the  walls  may  yet  be  seen  fragments  of  the  ancient  frescoes. 

ST.  PALAIS,  Cher.  Eglise  consists  of  a  timber-roofed  nave  of  the  XII  century,  a 
choir  reconstructed  early  in  the  XIII  century  under  the  inspiration  of  the  cathedral 
of  Bourges,  a  polygonal  apse  with  lancet  windows,  and  two  chapels  added  in  the  XV 
century.  In  the  choir  the  system  is  continuous.  The  details  throughout  are  fine. 
(De  Kersers  VI,  239.) 

MUSSY,  Aube.  Eglise  of  the  XIII  century  consists  of  a  western  narthex  tower, 
a  nave  four  ha,js  long  furnished  with  clearstory  and  flying  buttresses,  two  side  aisles, 
salient  transepts,  and  a  choir  of  two  bays.  The  edifice  is  vaulted  with  rib  vaults 
throughout.     (Arnaud,  223.) 

POILLEY,  Manche.  Eglise.  The  portal  and  one  buttress  of  the  choir  are  of 
the  XIII  century;  the  western  fa9ade  is  dated  by  an  inscription  of  1537;  the  remainder 
of  the  church  is  of  the  XVIII  century.     (De  la  Balle.) 

LIESSE,  Aisne.     Eglise  dates  from  the  XIII,  XIV,  and  XVI  centuries.      The 
fa9ade  is  preceded  by  a  porch;  the  flying  buttresses  are  well  developed. 

VITRY,  Seine.  Eglise  consists  of  a  nave,  two  side  aisles,  a  northern  transept, 
a  southern  tower,  a  five-aisled  chevet  with  a  radiating  rib  vault  of  the  Amiens  type, 
an  ambulatory,  and  radiating  chapels  whose  vaults  are  consolidated  in  sexpartite 
compartments  with  those  of  the  ambulatory.  The  nave  is  covered  with  a  modem 
wooden  vault;  it  is  characterized  by  the  absence  of  a  triforium  and  by  a  clearstory 
consisting  of  a  series  of  oculi.     (Lambin,  20.) 

VER,  Somme.  St.  Remi.  The  oldest  portion  of  the  existing  edifice  is  the  por- 
tal of  1238,  the  remainder  of  the  monument  having  been  rebuilt  in  later  (flamboyant) 
times.     The  monocylindrical  piers  of  the  nave  are  without  capitals.     (Josse.) 

ST.-LOUP-DES-CHAIBIES,  Cher.  Eglise,  said  to  be  of  the  XIII  century, 
consists  of  a  three-sided  apse,  a  choir  of  two  bays  covered  with  a  rib  vault,  a  wooden- 
roofed  nave,  and  a  western  bell  tower  recently  reconstructed.  (De  Kersers  III, 
303.) 

CHATEAU-DU-LOIRE,  Sarthe.  St.  Guingalois.  The  crypt  is  of  the  XI 
century,  but  the  upper  church  is  an  elegant  chapel  of  the  end  of  the  XIII  century 
with  fine  rayonnant  tracery.  The  projected  vaults  have  never  been  constructed. 
Originally  the  edifice  consisted  of  a  single-aisled  nave  with  a  polygonal  apse;  side 
aisles,  however,  were  added  in  the  X^T  century.     (Charles.) 

LA  PERCHE,  Cher.  Eglise  of  the  XIII  century  consists  of  a  polygonal  apse, 
a  nave,  and  an  interior  narthex  surmounted  by  a  tower.  The  whole  is  covered  with 
rib  vaults  without  wall  ribs.     The  system  is  continuous.     (De  Kersers  VII,  205.) 

ST.-JULIEN-DU-SAULT,  Yonne.  Eglise.  This  structure  of  the  XIII  cen- 
tury and  of  the  Renaissance,  classed  as  a  "monument  historique,"  is  characterized 
by  a  wooden  roof  and  two  early  Gothic  lateral  porches. 

353 


GOTHIC   MONUMENTS 

ILLEVILLE,  Eure.  Eglisi  is  said  to  be  a  fine  example  of  the  style  of  the  early 
Xni  century. 

MAREUIL,  Cher.  Eglise  consists  of  a  single-aisled  nave,  a  rectangular  choir, 
and  two  chapels  of  the  XV  century,  all  roofed  in  wood.  Both  round  and  pointed 
arches  occur  in  the  windows,  but  the  main  portal  is  thoroughly  Gothic  in  style.  To 
the  south  of  the  nave  stands  a  heavy  tower:  the  base  of  the  XII  century  is  sur- 
mounted by  a  Gothic  upper  story,  a  heavy  belfry,  and  a  low  pyramid.  (De 
Kersers.) 

SAUSSAYE,  Eure.  Eglise  Collcgialc  Si.  Louis.  This  church  was  commenced 
in  1307,  dedicated  in  1310,  burnt  in  1553,  pillaged  by  the  Huguenots  in  1562,  and 
burnt  again  in  1875.  Nevertheless  it  still  contains  some  fragments  of  medieval  archi- 
tecture. The  edifice  consists  of  a  northwestern  tower,  a  nave  of  a  single  aisle,  low 
transeptal  chapels,  and  a  rectangular  choir.  Some  of  the  windows  have  fine  flam- 
boyant tracery.     (De  la  Balle.) 

VILLY-LE-MAR£CHAL,  Aube.  Eglise.  The  wooden-roofed  nave  is  lighted 
by  five  lancets.  Of  these  the  first  two  on  the  north  side  are  of  the  XIII  century,  as 
well  as  certain  portions  of  the  walls;  the  others  were  rebuilt  when  the  rest  of  the 
church  was  reconstructed  c.  1500.  The  choir  has  a  multiple  rib  vault,  and  is  flanked 
by  two  chapels.     The  apse  is  five-sided.     (Fichot  I,  471.) 

JUSSY-LE-CIIAUDRIER,  Cher.  Egli.?e.  The  rectangular  choir  of  the  XIII 
century  comprises  two  rib-vaulted  bays,  is  lighted  by  lancet  windows,  and  supplied 
with  a  continuous  system.  The  walls  of  the  nave  are  ancient  and  contain  some  tra- 
ceried  windows;  the  present  plaster  vaults,  however,  and  the  western  tower  are  mod- 
ern.    (De  Kersers  VI,  299.) 

BINON,  Cher.  Eglise.  which  appears  to  date  from  the  XII  and  XIII  centuries, 
consists  of  a  single-aisled,  plaster-vaulted  nave,  and  a  polygonal  apse  rebuilt  in  the 
flamboyant  period.  The  latter  is  vaulted,  as  is  the  bay  of  the  choir  which  precedes 
it.     (De  Kersers  I,  105.) 

CR£PY-EX-VAL0IS,  Oise.  St.  Thomas.  There  remains  of  this  collegiate 
church  of  the  XIII  century  only  the  fa9ade.  This  is  flanked  by  two  towers,  the  north- 
ern one  of  which  bears  a  hexagonal  open-work  spire  of  the  XV  century,  while  the 
southern  dates  from  the  second  half  of  the  XIII  century.  (Arch,  de  la  Com.  des  Mon. 
Hist.  I,  65.) 

VALIQUER\TLLE,  Seine-Inferieure.  Eglise,  consecrated,  it  is  said,  in  1267, 
has  been  much  rebuilt.     The  beautiful  spire,  however,  is  well  preserved.     (Benoist.) 

NEtrW-SUR-BARENJOX,  Cher.  Eglise  of  the  early  XIII  century  served 
both  as  a  priory  and  a  parish  church,  and  doubtless  for  this  reason  was  divided  into 
two  parallel  naves,  both  roofed  in  wood.  The  east  end  is  square.  To  the  westward 
is  a  square  narthex.     (De  Kersers  VII,  321.) 

VAILLY,  Aube.  St.  Nicolaa  consists  of  a  single-aisled  nave,  more  lofty  than 
the  choir,  but  roofed  in  wood,  a  rib-vaulted  choir  of  a  single  bay,  and  two  chapels. 
There  are  angle  buttresses. 

^^LLENEm'E-ST.-GEORGES,  Seine-et-Oise.  St.  Georges.  The  choir  is  of 
the  XIII,  the  nave  and  the  portal  (Renaissance  in  style)  of  the  X^^,  the  apse  of  the 

354 


MONUMENTS   OF  THE   FOURTH   CLASS 

XV,  century.  The  whole  was  restored  1860-70.  A  series  of  oculi  constitutes  the 
clearstory.     (Lambin,  52.) 

BRIONNE,  Eure.  St.  Martin  consists  of  a  nave,  two  side  aisles,  a  central  tower, 
and  a  choir.     There  is  no  system.     (De  la  Balle.) 

Notre  Dame.  The  windows  of  this  desecrated  edifice  are  in  the  style  of  the  XIV 
century.     (Benoist.) 

St.  Denis. 

CLEREY,  Aube.  Uglise,  which  is  said  to  date  from  the  end  of  the  XII  century, 
consists  of  a  rib-vaulted  rectangular  choir  of  a  single  bay,  a  central  tower,  and  a  single- 
aisled  nave  roofed  in  wood.     Some  of  the  arches  are  round.     (Arnaud,  92.) 

MEIIvLANT,  Cher.  Eglise  consists  of  a  single-aisled  nave  and  a  polygonal 
apse.  The  eastern  portions  are  rib-vaulted.  The  fa9ade  and  the  lower  part  of  the 
tower  date  from  1537;  the  upper  portions  of  the  tower  are  modern.  (De  Kersers 
VI,  148.) 

PAYNS,  Aube.  Eglise  consists  of  a  five-sided  apse,  transepts,  and  a  nave  orig- 
inally erected  in  the  early  years  of  the  XIII  century,  but  since  materially  altered.  If 
there  ever  were  vaults  they  have  been  destroyed;  the  entire  church  is  now  roofed  in 
wood.     (Fichot  I,  149.) 

COUTRES,  Cher.  Eglise.  Of  this  desecrated  edifice,  now  used  as  a  store,  the 
XIII  century  choir  and  the  apse  are  well  preserved.  The  latter  is  covered  with  a 
radiating  rib  vault,  whose  ribs  rest  on  corbels.     (De  Kersers  IV,  79.) 

BAZENVILLE,  Calvados.  Eglise.  The  gracious  tower  of  the  XIII  century 
is  surmounted  by  a  four-sided  pyramid.     The  porch  is  of  the  XV  century.     (Benoist.) 

GORGES,  Manche.  Eglise.  The  original  edifice  of  the  early  XIV  century 
(which  consisted  of  a  single-aisled  nave,  transepts,  and  a  central  tower)  was  burnt  in 
1613,  and  the  stone  vault  of  the  nave  has  never  been  rebuilt.     (De  la  Balle.) 

DOMMAIRE,  Seine-et-Marne.  Ahhaye  du  Lys.  Important  ruins  of  this 
edifice  of  the  XIII  century  are  said  to  survive.     (Aufauvre  et  Fichot.) 

COURGERENNES,  Aube.  Eglise  consists  of  a  nave  and  a  three-sided  apse. 
Certain  portions  of  the  nave  seem  as  early  as  the  XII  century,  but  the  edifice  has  been 
often  rebuilt,  and  the  choir  was  entirely  reconstructed  in  the  XVI  century.  The  church 
is  roofed  in  wood  throughout.     (Fichot  I,  378.) 

GfiFOSSE,  Calvados.  Eglise  of  the  XIII  century  is  vaulted  throughout.  The 
tower  terminates  en  hatiere.  There  was  originally  a  transept  whose  foundations  may 
still  be  traced.     (Benoist  III,  108.) 

LONGUES,  Calvados.  Ahhaye  Notre  Dame.  Only  the  rectangular  choir  sur- 
vives, but  this  is  in  the  style  of  the  very  best  period  of  the  XIII  century.     (De  la  Balle.) 

PREVERANGES,  Cher.  Eglise  of  the  XIII  century  consists  of  a  nave  of  a 
single  aisle  and  a  slightly  narrower  rectangular  choir.  This  choir  was  originally 
vaulted,  but  the  vaults  have  now  disappeared.     (De  Kersers  III,  228.) 

CORBON,  Orne.  St.  Martin,  an  edifice  of  the  XII  and  XIII  centuries,  is  re- 
markable for  its  Gothic  portal  flanked  by  two  round-arched  arcades,  its  semicircular 
apse  adorned  with  chevrons,  and  its  bell  said  to  date  from  the  year  1265.  (De  la 
Balle.) 

355 


GOTHIC   MONUMENTS 

Chapelle  du  ChAteau  is  a  Gothic  structure  made  over  in  the  flamboyant  period. 
The  tower  is  said  to  be  of  the  XII  century.     (Benoist.) 

AVALLEURS,  Aube*.  Commanderie  du  Temple.  This  rectangular  chapel  is 
divided  into  three  bays  and  co'^red  with  rib  vaults.  The  house  of  the  Templars  at 
Avalleurs  was  established  in  1179,  and  the  chapel  was  in  all  probability  erected  soon 
after.     (Arnaud,  226.) 

LIGY,  Seine-Inf  erieure.  Kglise  of  the  XIII  century  was  restored  in  1892.  The 
apse  is  polygonal:  the  lancet  windows  are  without  tracery;  the  details  are  said  to  be 
exceptionally  fine.     (De  la  Balle.) 

COUDRAY,  Calvados.  Eglise  said  to  be  of  the  XIII  century,  preserves  intact 
its  tower  with  wooden  spire. 

BAILLEUL,  Seine-Inferieure.  Eglise  contains  a  fine  series  of  lancet  windows. 
(Benoist.) 

BARC,  Eure.  Eglise.  The  vaulted  choir  is  of  the  fiLrst  half  of  the  XIII  century, 
the  tower  is  of  the  X\T  century.     (De  la  Balle.) 

CRfiPY,  Aisne.     St.  Pierre  is  of  the  XIII  century. 

Notre  Dame  is  of  the  "S-TV  and  XV  centuries. 

LOUVIGNY,  Calvados.  Eglise  of  the  Gothic  and  flamboyant  eras  consists 
of  a  nave,  a  choir  and  a  western  tower. 

MORLAC,  Cher.  Eglise.  Severely  damaged  in  the  Wars  of  Religion,  and 
ruined  by  restorations,  this  monument  preserves  nothing  of  interest  save  a  few  cor- 
bel-tables of  the  XII  century.     (De  Kersers  IV,  30.) 

Chapelle  de  Souages.  This  desecrated  edifice  was  erected  at  the  commencement 
of  the  XIII  centiu'y.  The  entire  structure  (whose  plan  forms  a  vast  rectangle)  is 
now  roofed  in  wood,  but  the  eastern  portions  were  formerly  vaulted.  (De  Kersers 
IV,  33.) 

MOSLES,  Calvados.  St.  Eiistache.  The  nave,  the  single  side  aisle,  and  the 
tower  seem  to  be  of  the  XFS^  century,  but  the  sexpartite  vault  which  covers  the  rect- 
angular choir  clearly  belongs  to  the  early  years  of  the  XIII  century.  The  fa9ade  is 
pierced  by  a  great  rose  window  with  plate  tracery.     (De  la  Balle;  de  Caumont.) 

GR.\ND-SELVE,  Somme.  Chapelle  des  Templiers  is  a  small  and  much  ruined 
structure  dating  from  about  the  middle  of  the  XIII  century.  Instead  of  being  cir- 
cular, this  chapel  is  rectangular  with  a  polj'gonal  apse.     (Des  Orme.) 

MERY-SUR-CHER,  Cher.  Eglise  consists  of  a  single-aisled  nave,  a  rectangular 
choir  —  both  lighted  by  little  round-headed  windows,  —  and  a  large  vaulted  chapel. 
The  walls  may  be  assigned  to  the  end  of  the  XIII  century,  the  vaults  of  the  choir  to 
the  XJY  or  XV  century.      (De  Kersers  \ll,  311.) 

MEZIERES,  Calvados.  Eglise  of  the  XIII  century  possesses  a  remarkable 
stone  spire.     (Benoist.) 

VUL.\INES,  Aube.  Eglise  of  the  end  of  the  Xm  century  is  characterized  by 
a  square  east  end  and  a  timber  roof.     (Fichot  I,  354.) 

ST.  WANDRILLE,  Seine-Inferieure.  Ahhaye.  Of  this  famous  abbey  church 
only  one  transept  and  fragments  of  the  radiating  chapels  of  the  ambulatory  survive, 
and  these  in  a  most  deplorable  state  of  ruin.     The  edifice  seems  to  have  been  erected 

356 


MONUMENTS   OF  THE   FOURTH   CLASS 

in  the  last  half  of  the  XIII  century,  but  the  details  are  of  a  purity  altogether  excep- 
tional in  Normandy.  Thus  the  abaci  are  square;  the  system  of  three  shafts  is  log- 
ical and  continuous;  the  archivolts  in  three  orders  are  of  rather  simple  profile.  The 
ruined  cloisters  are  flamboyant  in  style. 

MARMAGNE,  Cher.  Abbaye  du  Beauvoir.  Only  the  nave  survives,  and  the 
vaults  of  even  this  have  fallen.  The  windows  on  the  north  side  are  simple  lancets 
slightly  pointed.     (De  Kersers  V,  282.) 

ESTREPAGNY,  Eure.  Eglise,  adorned,  it  is  said,  with  "several"  towers, 
possesses  a  large  nave,  transepts,  but  no  side  aisles. 

AMAYE,  Calvados.  Notre  Dame.  This  edifice  of  the  XIII  and  XV  centuries 
has  been  much  modernized.     (De  Caumont.) 

VILLENAUX,  Aube.  Eglise  de  Dived  consists  of  a  single-aisled  nave,  two 
square  apses,  and  a  northern  tower  dated  by  an  inscription  of  1520.  The  edifice  is 
rib-vaulted  throughout.  Certain  round  arches  in  the  choir  are  evidently  fragments 
of  an  earlier  Romanesque  church.     (Arnaud,  212.) 

VILLIERS-LE-SEC,  Calvados.  St.  Laurent.  The  tower  and  the  rectangular 
choir  of  a  single  bay  are  of  the  XIII  century;  the  nave  is  of  the  XVIII  century.  The 
tower  en  batiere  is  of  a  pleasing  design. 

ARGENVILRES,  Cher.  Eglise  which  had  been  much  mutilated  (probably  in 
1569),  consists  of  a  single-aisled  nave,  a  rectangular  choir,  and  two  chapels  added 
in  the  XVI  and  XIX  centuries.  A  tower  formerly  surmounted  the  choir.  (De 
Kersers  VI,  260.) 

ETRECHY,  Cher.  Eglise,  which  appears  to  date  from  the  commencement  of 
the  XUI  century,  consists  of  a  rectangular  choir,  of  which  the  axis  deviates  to  the 
south,  a  nave  of  a  single  aisle,  and  a  western  tower.  The  edifice  has  been  many  times 
restored,  and  is  now  vaulted  in  plaster.     (De  Kersers  VI,  283.) 

PICAUSTLLE,  Manche.  Eglise,  of  the  XIII  and  XIV  centuries,  consists 
of  a  nave,  two  side  aisles,  transepts,  a  central  tower,  and  a  rectangular  choir. 
The  nave  has  flying  buttresses,  and  is  preceded  by  a  charming  porch.  (De  la 
BaUe.) 

THifiVILLE,  Calvados.  Eglise,  erected,  it  is  said,  at  the  end  of  the  XIII  cen- 
tury, is  remarkable  for  the  carving  of  its  capitals.     (Benoist.) 

ST.-PIERRE-CANIVET,  Calvados.  Eglise  is  said  to  be  a  charming  struc- 
ture of  the  Xm  century.     (Benoist.) 

AVRANCHES,  Manche.  Notre  Dame-des-Champs.  In  the  modern  church  of 
this  name  there  are  preser^'ed  some  fragments  of  the  ancient  edifice. 

Si.  Saturnin  contains  a  bas-relief  of  the  XIV  century  and  a  portal  of  the  XIII 
century.     (Benoist.) 

NORON,  Calvados.     Prieure.     Some  portions  of  the  nave  survive.     (Benoist.) 

Ste.  Catlierine  is  a  single-aisled  edifice.     (Benoist.) 

Eglise  for  the  most  part  of  the  XIII  century  possesses  a  western  tower.  (Be- 
noist.) 

HEBECOURT,  Somme.  Si.  Come  et  St.  Damien.  In  1128  Amould,  son  of 
Hebe,  erected  on  this  site  a  chapel  which  was  later  replaced  by  a  church.      The  edi- 

357 


GOTHIC   MONUMENTS 

fice  was  enlarged  in  1205,  burni  in  1257,  repaired  in  1258,  1332,  1497,  and  1605. 
(Josse.) 

IVOY-LE-PRE,  Cher.  Eglise  of  the  XIII  century  originally  consisted  of  a 
single-aisled  nave  and  a  five-sided  apse,  but  two  large  chapels  were  subsequently 
added.  The  ancient  vaults  have  been  replaced  by  a  wooden  roof.  (De  Kersers 
III,  23.) 

ST.-BENOlT-SUR-VANNES,  Aube.  Eglise  consists  of  a  three-sided  apse, 
a  single-aisled  nave,  and  a  tower  projecting  beyond  the  facade.  The  edifice  is  roofed 
in  wood  throughout.  The  church  was  altered  in  the  XVI  century  and  again  in  1728. 
(Fichot  I,  332.) 

AUNON-SUR-ORNE,  Ome.  Ste^  Eulalie  is  a  church  of  a  single  aisle,  with- 
out transepts  or  tower.  The  original  Norman  edifice  was  made  over  in  the  XIII 
century.     (De  la  Balle.) 

BRAY,  Eure.  Eglise.  The  tower  and  the  choir  are  of  the  XIII  century.  (De 
la  Balle.) 

BOSC-BORDEL,  Seine-Inferieure.  Eglise.  The  tower  is  of  the  XIII  century. 
(De  la  Balle.) 

BOURG,  Cher.  Eglise  consists  of  a  single-aisled  nave,  a  choir  of  the  XVI  cen- 
tury, transepts,  a  polygonal  apse,  and  a  western  tower.  This  tower  is  the  most  an- 
cient part  of  the  edifice  and  dates  mainly  from  the  XIII  century,  although  upon  its 
summit  is  inscribed  the  date  1G21.     (De  Kersers  VII,  29.) 

fiVRECY,  Calvados.  Eglise,  which  is  of  large  dimensions  and  which  has  evi- 
dently been  many  times  made  over,  is  of  interest  chiefly  for  the  tower  of  the  XIV  cen- 
tury.    (Benoist  III,  35.) 

HERRY,  Cher.  Eglise  has  been  se\eral  times  entirely  rebuilt,  but  contains  a 
square  rib-vaulted  choir  of  the  XIII  century.     (De  Kersers  VI,  293.) 

VILLEGENON,  Cher.  Eglife  of  the  XIII  century  has  been  very  much 
restored.  The  existing  edifice  consists  of  a  single-aisled  nave  and  a  square  east  end, 
the  whole  roofed  in  timber.  In  the  XV  century  a  side  aisle  was  begun,  but  never 
completed.     (De  Kersers  VII,  287.) 

AILLY-SUR-NOYE,  Somme.  Eglise  is  in  great  part  of  the  XIII  century. 
The  three  arcades  of  the  nave  rest  on  monocylindrical  piers  with  sculptured 
capitals. 

ENV'ERMEN,  Seine-Inferieure.  Chapclle  St.  Guillaiji.  This  edifice  of  the  XIII 
century  is  peculiar  in  that  the  east  end  is  pierced  by  two  pointed  windows  surmounted 
by  a  rose.     (Benoist.) 

ST.  VALERY,  Somme.  Eglise  dates  from  the  XIII  and  XVI  centuries.  The 
vaults  with  their  thin  sculptured  keystones  are  of  the  last  epoch. 

DEMOUMLLE,  Calvados.  Eglise.  The  nave  is  of  the  XIII  and  XIV  cen- 
turies; the  fine  lateral  porch  is  of  the  latter  epoch.     (Benoist  III,  47.) 

MONTIGNY,  Calvados.  St.  Jacques  et  St.  Girhold.  The  nave  seems  to  date 
from  the  XIII  century,  the  choir  from  the  X^^I  or  XVIII  century.     (De  Caumont.) 

ISIGNY,  Calvados.  Eglise  dates  in  part  from  the  XIII  century,  but  in  the 
northern  transept  is  an  ogee  arcade.     (Benoist.) 

358 


MONUMENTS   OF  THE  FOURTH  CLASS 

MOULINEAUX,  Seine-Inferieure.  Eglise  This  single-aisled  edifice  dates 
from  the  XIII  century.     (Benoist  I,  32.) 

SURY-EN-VAUX,  Cher.  St.  Etienne.  Notwithstanding  recent  restorations, 
the  ancient  single-aisled  nave,  probably  of  the  XV  century,  and  the  southern 
lateral  tower  of  the  XIII  century  are  still  recognizable.     (De  Kersers  VII,  83.) 

NEUVILLE-FERRIERES,  Seine-Inferieure.  Eglise.  The  choir  and  a  por- 
tion of  the  nave  are  of  the  XIII  century.     (De  la  Balle.) 

CLERISTOT,  Calvados.  Eglise.  The  vaulted  choir  is  said  to  be  of  the  first 
half  of  the  XIII  century.     (Benoist  III,  39.) 

CLEVILLE,  Calvados.  Eglise.  Certain  portions  date  from  the  XIII  and 
XrV  centuries,  it  is  said. 

FLEURY,  Manche.     Eglise  is  said  to  be  "large  and  elegant."    (Benoist  V,  38.) 

LURY,  Cher.  Eglise.  The  only  surviving  portions  are  the  rectangular  rib- 
vaulted  choir  and  the  tower,  which  are  to-day  desecrated.  The  choir  is  assigned  to 
the  XIV  century.     (De  Kersers  V,  232.) 

CHALIS,  Seine-et-Oise.  Ahhaye.  Of  the  Cistercian  church  there  remain  only 
a  few  fragments  of  the  choir  and  north  transept.  The  latter  was  polygonal  in  plan. 
(Gonse.) 

]\L.\ILLY-CHATEAU,  Yonne.  Eglise.  Above  the  portal  on  the  fa9ade  is  an 
open  gallery  of  the  XIII  century.  The  columns  rest  on  pedestals,  in  front  of  which 
stand  statues.     (Petit.) 

MAISY,  Calvados.  Eglise.  The  vault  is  modern,  but  the  edifice  contains  some 
interesting  fragments  of  XW  century  architecture.     (Benoist.) 

ST.  GILLES,  Manche.  Eglise  of  the  early  Gothic  period,  is  said  to  have  been 
rebuilt  in  the  XV  century. 

V  lEUX-PONT,  Ome.  St.  Hilaire.  The  choir,  which  dates  mainly  from  the 
XrV  century,  was  repaired  in  1525.     (De  la  Balle.) 

ST.-PIERRE-DU-LOROUER.  Sarthe.  Eglise  contains  mural  paintings  of 
the  Xm  century. 

VORGES,  Aisne.  Eglise  is  a  fortified  edifice  dating,  it  is  said,  from  the  XII  to 
the  XrV  centuries. 

AGNEAUX,  Manche.     Chapelle  is  of  the  XHI  century. 

CAGNY,  Calvados.  St.  Germain  contains  some  fine  details  of  the  XTV  cen- 
tury.    (Benoist.) 

ST.  E\rROULT,  Orne.  Prieure.  Fragments  of  this  famous  edifice,  which 
originally  consisted  of  a  nave,  two  side  aisles,  transepts,  a  central  tower,  and  a  rect- 
angular choir,  still  survive,  and  show  the  style  of  the  best  period  of  the  XIII  cen- 
tury. In  1791  the  central  tower  collapsed,  ruining  the  transepts,  which  were  replaced 
by  the  present  flat  wall.  There  were  formerly  lancet  windows  in  the  clearstory,  but 
there  never  were  any  flying  buttresses.     (De  la  Balle;  Benoist  IV,  20.) 

SE^TIY,  Cher.  Eglise.  There  remain  only  the  walls  of  the  choir.  This  had 
a  square  east  end,  was  rib-vaulted,  and  dated  from  the  XIII  century.  (De  Ker- 
sers VI,  336.) 

CERLANGUES,  Seine-Inferieure.    Eglise  is  remarkable  for  its  spire.     (Benoist.)  ' 

359 


GOTHIC    MONUMENTS 

CLAIRETS,  Orne.  Abbaye.  This  edifice,  now  in  ruins,  was  erected  at  the 
commencement  of  the  XIII  century  by  the  counts  of  Perche,  according  to  Benoist. 

LAVERDIXES,  Cher.  Eglise.  Some  of  the  piers  of  this  ruined  edifice  of  the 
Xm  century  still  stand. 

MOTTEVILLE-LES-DEUX-CLOCHERS,  Seine-Inferieure.  Eglise.  The 
choir  is  the  only  portion  of  the  edifice  that  still  retains  something  of  its  character 
of  the  XIII  century. 

NEUVRE-LYRE,  Eure.     Eglise.     The  tower  is  of  the  XIII  century.    (Benoist.) 

PREAUX,  Calvados.  St.  Sever.  This  church  of  the  Xin  and  XIV  centuries 
contains  some  good  details.     (De  Caumont.) 

BOURGUEBUS,  Calvados.     Eglise  is  said  to  be  early  Gothic  in  style. 

BRANVILLE,  Calvados.     Eglise  is  of  the  Xm  century. 

BREUIL,  Calvados.  Eglise.  The  main  body  of  the  church  is  of  the  XIII 
century,  but  the  porch  before  the  main  portal  is  flamboyant.     (Benoist  III,  70.) 

BROURAY,  Calvados.     Eglise  is  of  the  XUI  and  XR'  centuries.     (Benoist.) 

CROULTES,  Orne.  Prieure.  The  conventual  buildings  of  the  'X.IV  century 
are  still  intact,  but  are  of  small  importance.     (De  la  Balle.) 

fiCARDEXVILLE-LA-CAJNIPAGXE,  Eure.  Eglise.  The  rectangular  nave 
of  the  XIII  century  was  much  altered  in  the  XYI  century  and  in  modern  times.  The 
tower  has  been  destroyed.     (De  la  Balle.) 

MARTIGNY,  Calvados.  Eglise  seems  to  date  from  the  second  half  of  the  XII 
century. 

LE-PLESSIS-STE.-OPPORTUNE,  Eure.  Eglise.  The  square  tower  is  of 
the  first  half  of  the  XIIl  century.     (De  la  Balle.) 

ROCQUES,  Calvados.  Eglise.  The  most  ancient  portions  are  of  the  XIII 
century,  the  porch  is  of  the  X\'I  century. 

ST.-LAUREXT-SUR-INIER,  Calvados.  Eglise  of  the  XIII  century  is  a  very 
simple  structure.     (Benoist.) 

ST.-VICTOR-ABBAYE,  Seine-Inferieure.  Abbaye.  Some  fragments  of  the 
important  church  of  the  XIII  century  have  been  embedded  in  the  present  edifice,  and 
the  ancient  chapter-house  of  the  XII  century  is  also  extant.  The  latter  is  square 
in  plan.     (Benoist.) 

AUBRI,  Orne.     Eglise  is  in  ruins. 

BRETTEVILLE,  Calvados.  Notre  Dame  seems  to  date  from  the  XIII  and 
XV  centuries.     (Benoist  II,  31.) 

BELLE^IE,  Orne.  Prieure  St.  Martin.  The  slate  spire  and  a  few  other  frag- 
ments of  XIII  century  architecture  survive.     (Benoist.) 

HAUTE-CHAPELLE,  Ome.  Eglise  contains  fragments  of  XIH  century  archi- 
tecture embedded  in  the  modem  edifice.     (Benoist.) 

MORTAGXE,  Ome.  Eglise  de  VHopital  contains  fine  Gothic  windows  filled 
with  the  original  glass.     (Benoist.) 

NEUILLY'-LE-MALHERBE,  Calvados.  Eglise  of  little  interest,  dates  per- 
haps from  the  XUI  century.     (De  Caumont.) 

NOIRLAC,  Cher.     Abbaye.     The  church  is  said  to  be  well  preserved. 

360 


MONUMENTS   OF  THE  FOURTH   CEASS 

ST.-REjMY-DU-PLAIN,  Sarthe.     Eglise  is  of  the  XIV  and  XVI  centuries. 

SORENG,  Somme.     Eglise  dates  from  several  different  epochs.     (Darsy.) 

VERRON,  Sarthe.  Eglise  is  a  much  ruined  and  very  forlorn  edifice.  The 
nave  is  supplied  with  three  chapels.     (De  la  Bouillerie.) 

\^ELLES,  Eure.  Eglise.  Of  this  desecrated  edifice  the  three  aisles  and  a 
ruined  tower  survive. 

BARLIEU,  Cher.  Eglise  has  been  almost  entirely  modernized.  (De  Kersers 
VII,  244.) 

LA  POUPELIERE,  Ome.  Ckapelle  du  Chateau  dates  perhaps  from  the  early 
years  of  the  XIV  century.     (De  la  Balle.) 

SEPT-VENTS,   Calvados.     Prieure  contains   interesting  details.     (Benoist.) 

VALMERAY,  Calvados.     Eglise.     Only  the  tower  survives.     (Benoist  III,  33.) 

AUDRTEU,  Calvados.     Cha-pelle  is  of  the  XIII  or  XIV  century.     (Benoist.) 

CREVECOEUR,  Orne.     Chapelle. 

LUGNY-CHAMPAGNE,  Cher.  Eglise.  The  polygonal  apse  and  the  single- 
aisle  nave  have  been  recently  vaulted  and  otherwise  much  modernized.  (De  Ker- 
sers VI,  307.) 

QUESNAY,  Calvados.  Eglise  is  an  example  of  the  style  of  the  early  Gothic 
period.     (Benoist.) 

TOURY,  Eure-et-Loire.     Eglise  is  of  the  XIII  century. 

LA  CHALLERIE,  Orne.  Chapelle.  The  two  windows  are  pointed.  (Be- 
noist.) 

COUDRES,  Eure.     Prieure.     This  chapel  is  still  in  tolerable  preservation. 

COULOMBS,  Calvados.  Eglise  contains  some  fragments  of  XIII  century 
architecture.     (Benoist.) 

rVRY-LA-BATAILLE,  Eure.  Abhaye.  Of  the  ancient  church  there  sur- 
vives only  a  single  portal  whose  jambs  and  voussoirs  are  adorned  with  statues  of 
saints  and  of  angels.     (De  la  Balle.) 

LAUNAY,  Calvados.     Eglise  is  of  the  XIII  century.     (Benoist.) 

PERRIERES,  Calvados.     Eglise  is  in  part  of  the  XIII  century.     (Benoist.) 

PIERREFITTE,  Calvados.     Eglise  is  of  the  XIII  century. 

LES  PONTS,  Manche.     Eglise  is  of  various  different  epochs. 

STE.-HONORINE-DU-FAY,  Calvados.  Eglise.  The  nave  is  of  the  XIII 
century,  the  choir  is  modern.     (De  Caumont.) 

TORTEVAL,  Calvados.  Prieure.  Picturesque  ruins  of  the  chapel  still  sur- 
vive.    (Benoist.) 

VARAVILLE,  Calvados.     Eglise.     Some  portions  are  of  the  XIII  century. 

BAGNOLLES-LES-BAINS,  Orne.     Chapelle  de  Lignoux  is  of  imknown  date. 

COUTERNE,  Orne.     Eglise  is  of  no  interest.     (De  la  Balle.) 

ETERVILLE,  Calvados.  Eglise  is  for  the  most  part  modern,  but  contains  some 
fragments  of  XIII  century  architecture.     (De  Caumont.) 

FRENOUVILLE,  Calvados.     Eglise  is  early  Gothic  in  style,  it  is  said. 

GUERBIGNY,  Somme.     Eglise  is  of  the  XIII  century. 

MONTS,  Calvados.     Eglise  is  of  the  XIII  century. 

361 


GOTHIC    MONUMENTS 

MOUTIERS-EN-AUGE,  Galvados.     Two  Churches. 

RAYMOND,  Cher.  Eglise.  Portions  of  the  walls  are  of  the  XIII  century. 
(De  Kersers  IV,  134.) 

ROUVILLE,  Calvados.     Ahbaye  is  completely  ruined. 

ST.-JEAN-DU-CORAIL,  Manche.  Eglise  has  triangular  transepts.  (Be- 
noist.) 

VACOGNES,  Calvados.  Eglise  is  perhaps  of  the  XIII  century.  (De  Cau- 
mont.) 

MAIZET,  Calvados.  Eglise.  A  portion  of  the  nave  and  the  choir  are  of  the 
XIII  century.     (De  Caumont.) 

MONDRAINVILLE,  Calvados.     Eglise  is  said  to  be  of  the  XIII  century. 

MT.-ARGIS,  Calvados.  Chapclle.  Some  ruins  of  the  XIII  century  survive. 
(Benoist.) 

Other  monuments  in  wliole  or  in  part  of  the  Gothic  period  exist  at,  AU- 
MATRE,  Somme;  BLOUTIERE,  Manche;  BREUVILLE,  Manche;  CHALIS, 
Oise;  CHICHEBOVILLE,  Calvados;  COMMEAUX,  Orne;  CONDE-SUR-ITON, 
Eure;  DEMOUVILLE,  Calvados;  DRAGEY,  Manche;  FOURNEAUX,  Cal- 
vados; FRANCHEVILLE,  Eure;  FRETTEMEULE,  Soranie;  HARCELAINE, 
Somme;  JUVIGNI-SOUS-ANDAINE,  Orne;  MARTESfVILLE,  Calvados;  MES- 
NIL-GLAISE,  Orne;  MOIDREZ,  Manche;  MONTAUEL,  Manche;  MON- 
THIERES,  Somme;  MORTEAUX,  Calvados;  OUILLY-LE-BASSET,  Calvados; 
REMALARD,  Orne;  ST.-ANTOINE-DE-ROCHEFORT,  Sarthe;  ST.  CLAIR, 
Seine-Inferieure;  ST.-JEAN-DE-LA-HAISE,  Manche;  STE.-MARGUERITE- 
DE-L'AUTEL,  Eure;  ST.-OUEN-D'ATHEZ,  Eure;  TEURTEVILLE-BOCAGE, 
Manche:  TILLY,  Eure;  TRANSLAY,  Somme;  TREPEREL,  Calvados;  VER- 
GIES,  Somme;  VILLEDIEU-LES-BAILLEUL,  Orne;  WITAIN-EGLISE, 
Somme. 


362 


CHAPTER  X 


THE    FLAMBOY.AJNT   STYLE 


THE  origins  of  the  flamboyant  style  are  lost  in  obscurity. 
Born  in  the  darkest  hour  of  the  Hundred  Years'  War  — 
a  period  so  absorbed  in  its  own  material  miseries  that  it  has 
but  seldom  recorded  such  fitful  architectural  activity  as  existed 
—  and  singularly  neglected  by  archaeologists  always  preoccu- 
pied with  the  problems  of  an  earlier  age,  the  last  phase  of  medi- 
eval art  has  left  but  few  traces  of  its  beginnings.  Furthermore, 
paradoxical  as  it  may  seem,  flamboyant  architecture  came  into 
being  at  a  moment  when  building  activity  in  France  —  espe- 
cially in  those  northern  and  western  portions  exposed  to  con- 
stant desolation  in  the  course  of  the  wars  —  was  almost  totally 
suspended.  We  know  that  architecture  entered  upon  the  last 
half  of  the  XIV  century  Gothic,  that  it  emerged  flamboyant; 
but  of  the  process  of  transformation  it  is  possible  to  gather  but 
singularly  few  details. 

Such  facts  as  are  known,  are  furnished  chiefly  by  the  abbey 
church  of  St.  Satur,  an  authentically  dated  monument  of  1361-67 
and  practically  the  only  important  extant  example  of  the  style 
of  the  last  half  of  the  XIV  century.  St.  Satur  (111.  235)  is  Gothic, 
not  flamboyant;  but  it  is  Gothic  of  the  last  phase,  already  well 
started  on  the  primrose  path  which  the  new  style  was  destined 
to  follow.  The  window  tracery  is  still  geometrical,  but  is  evi- 
dently on  the  verge  of  assuming  flowing  forms.  In  the  system 
the  engaged  colonnettes  so  characteristic  of  the  style  of  the  XIII 
century  remain,  but  so  increased  in  number  and  diminished  in 
size,  that  they  seem  to  possess  a  new  character,  while  the  pier 
spaces  between,  formerly  smooth  and  cylindrical,  are  now  cov- 
ered with  mouldings  which  show  unmistakable  tendencies  to 
become    prismatic   and    continuous.     The    capitals,    instead    of 

363 


THE   FLAMBOYANT   STYLE 

belonging  to  the  whole  ^  pier,  are  bestowed  separately  on  the 
colonnettes  alone.  Since  each  colonnette  was  similarly  sup- 
plied with  its  own  separate  base,  and  since  these  bases  were  of 
considerable  projection,  the  builders  of  St.  Satur  conceived  these 
separate  bases  as  interpenetrating,  portions  of  two  bases  occupy- 
ing the  same  place  at  the  same  time.  The  principle  of  the 
flamboyant  interpenetrating  moulding  had  come  into  being, 
and  it  was  obviously  only  a  short  step  to  supply  also  the  mould- 
ings of  the  pier  with  separate  bases,  or  otherwise  to  complicate 
the  motive  by  a  hundred  possible  variations.  As  the  vault 
ribs  of  St.  Satur  are  of  the  same  size  and  section  as  the  shafts 
on  which  they  are  carried,  the  vaulting  capitals  have  conse- 
quently no  structural  function,  and  those  later  designs  in  which 
capitals  are  omitted  altogether  seem  clearly  foreshadowed. 
But  with  all  these  tendencies  pointing  in  one  direction,  St.  Satur 
still  lacks  the  distinctive  features  of  the  flamboyant  style.  The 
ogee  arch  does  not  appear;  the  tracery  is  not  flowing;  the 
mouldings  are  not  completely  prismatic. 

How,  where,  and  when,  these  features  so  distinctive  of  the 
flamboyant  style  were  introduced  into  French  architecture,  it 
is  difiicult  to  say.  Prismatic  mouldings,  which  seem  to  be  in 
the  process  of  evolution  at  St.  Satur,  may  well  have  been  devel- 
oped independently  in  France,  but  the  recent  researches  of  M. 
Enlart  have  established  the  probability  that  the  ogee  arch ' 
and  flowing  -  tracery  were  imported  from  England.^  The 
case,  however,  is  not  altogether  clear,  for  examples  of  the  ogee 
arch  occur  in  the  porch  of  St.  Urbain  of  Troyes  —  a  monument 
that,  notwithstanding  its  advanced  style,  was  begun  in  1260, 
so  that  these  arches,  if  they  indeed  belong  to  the  original  con- 
struction, must  have  been  executed  before  the  year  1300.  But 
while  the  ogee  arches  of  St.  Urbain  remained  solitary  and  iso- 
lated examples,  this  feature  became  a  common  and  distinctive 

'  An  ogee  arch  is  one  whose  archivolt  is  a  line  of  double  curvature. 

'  Flowing  tracery  is  formed  of  mullions  which  assume  "flame-like"  lines  of  double  curva- 
ture, instead  of  the  geometric  forms  of  earlier  times. 

3  The  above  passage  was  written  at  the  time  of  the  very  commencement  of  the  controversy 
that  has  since  raged  on  this  subject.  After  having  read  the  rebuttal  of  M.  St.  PaiJ,  the  reply  of 
M.  Enlart  and  the  surrebuttal  of  M.  St.  Paul  1  find,  however,  nothing  in  the  above  account 
which  I  wish  to  change. 

364 


111.  269. —  Rouen.     Facade 


ENGLISH  IXFLUEXCE 

characteristic  of  the  architecture  of  England  from  the  first 
quarter  of  the  XIV  century.  Similarly  non-geometrical  tracery, 
unknown  in  France  before  c.  1375,  ^vas  so  frequent  in  England 
that  it  has  given  the  name  "Flowing"  to  one  of  the  phases  of 
the  decorated  style  of  that  country.  In  view  of  the  fact  tliat 
French  and  Encjlish  were  constantlv  thrown  together  in  the 
course  of  the  Hundred  Years'  ^Yar,  and  that  the  greater  part 
of  France  had  even  fallen  into  English  possession,  it  is  hence 
altogether  probable  that  Qovring  tracery  and  ogee  arches  were 
derived  from  English  sources. 

The  flamboyant  style,  therefore,  was  only  in  part  indige- 
nous, though  on  the  other  hand  it  was  not  an  exotic  architecture, 
transplanted  bodily,  like  the  Gothic  of  England,  or  the  Renais- 
sance of  France;  it  was  rather  the  logical  development  of  the 
tendencies  of  the  Gothic  period,  influenced  and  advanced  by 
foreign  models.  The  strength  of  this  English  influence  is  wit- 
nessed by  the  absence  of  transitional  monuments.  St.  Satur 
stands  alone.  In  1375,  only  seven  years  after  the  completion 
of  this  abbey,  the  fully  developed  flamboyant  style  appears  in 
the  chapel  St.  Jean  Baptiste  of  the  cathedral  of  Amiens,  and  in 
a  side  chapel  of  the  cathedral  of  Rouen.  Although  monuments 
of  the  last  quarter  of  the  XTY  century  are  as  scarce  as  those  of 
the  preceding  twenty-five  years,  the  few  that  we  have  —  notably 
Ste.  Croix  of  Bemay  (1358—1450)  and  the  church  of  St. 
Calais,  fSarthe),  a  structure  commenced  in  1394,  —  seem 
to  show  that  the  flamboyant  style  immediately  supplanted  the 
Gothic. 

^Mien,  in  the  early  years  of  the  XV  century,  building  activ- 
ity revived,  the  new  style  was  everwhere  firmly  established. 
La  Trinite  of  Cherbourg  was  commenced  in  141-2;  Xotre  Dame- 
de-l'Epine,  near  Chalons-sur-Marne  in  1419;  Xotre  Dame  of 
Caudebec-en-Caux  in  1426;  St.  Maclou  of  Rouen  in  143-2:  the 
porch  and  facade  of  St.  Germain-rAuxerrois  in  1435;  the  church 
of  Carenton  in  1445,  St.  Laurent  of  Rouen  in  1446,  etc.  The 
list  of  monuments  of  this  period  is  doubtless  small  enough  if 
compared  with  the  stupendous  production  of  the  XTT  and  XTTT 
centuries;  moreover,  although  all  of  these  churches  were  of 
modest  dimensions,  the  construction  dragged  along  with  such 

365 


THE    FLAINIBOYAXT   ST\XE 

extreme  slowness,  that  "in  the  majority  of  cases  it  was  still 
unfinished  a  century  later.  Yet  compared  with  the  last  half  of 
the  XIV  century,  the  revival  of  interest  in  architecture  is  none 
the  less  striking. 

There  is  little  in  the  material  conditions  of  the  country  to 
explain  such  an  architectural  renaissance,  for  all  the  causes 
which  had  led  to  the  decline  of  art  in  the  XIV  century,  far  from 
being  removed,  were  intensified  at  this  period.  Politically 
the  fortunes  of  the  kingdom  were  at  their  lowest  ebb:  the  battle 
of  Agincourt  was  fought  in  1415,  the  degrading  Treaty  of  Troyes 
signed  in  14'20.  It  was  only  in  the  second  quarter  of  the  XV 
century  that  Jeanne  d'Arc  raised  the  siege  of  Orleans  (1429), 
and  that  that  national  reaction,  which  was  at  last  to  end  in  the 
expulsion  of  the  English  (1456),  began  to  make  itself  felt.  Xor 
did  the  economic  condition  of  the  realm  in  the  early  XV  century 
show  any  improvement.  The  resources  of  the  country  had 
been  exhausted  by  ruinous  taxation;  agriculture  had  been 
destroyed  by  the  constant  passage  back  and  forth  of  the  royal 
armies,  which  pillaged  and  burnt  the  fields  of  friend  and  enemy 
alike  wherever  they  passed;  bands  of  robbers  and  "ecorcheurs" 
ravaged  the  land  from  one  end  to  the  other  unhindered  by  the 
powerless  government;  the  population  had  been  decimated, 
commerce  had  been  almost  totally  ruined ;  —  in  short  France 
lay  in  a  state  of  anarchy  and  miser}'  such  as  had  hardly  fallen 
to  her  lot  in  the  \I  or  X  century.  It  is  difiicult  to  say  which  was 
most  completely  wretched,  the  half  of  the  kingdom  that  lay 
crushed  and  bleeding  in  the  English  grasp,  or  the  half  that  still 
struggled  feebly  for  the  King  of  Bourges. 

In  the  Church  matters  were  going  rapidly  from  bad  to  worse. 
Never  had  the  clergj'  been  more  corrupt,  more  ignorant;  never 
had  the  Christian  religion  been  so  openly  the  object  of  scorn  and 
derision.  The  papacy  had  lost  its  moral  force  as  well  as  its 
temporal  power  in  the  disorders  of  the  Schism;  the  clergy 
obeyed  no  discipline,  canonical  or  moral;  monk  and  priest 
vied  with  each  other  in  corruption,  and  not  seldom  became 
the  open  alHes  of  the  brigands.  Benefices  were  ever}"^\-here 
obtained  by  simony,  and  were  almost  always  occupied  by  some 
noble  from  whom  was  demanded  no  other  merit  than  a  well- 

366 


111.  270.  —  Eglise  de  la  Couture,  Bernay.     Portal 


DECAY  OF  THE   CHURCH 

lined  pocket-book;  once  invested,  abbot  and  bishop  neglected 
their  spiritual  duties,  and  thought  only  of  plunder. 

Simultaneously  with  the  wealth  of  the  nation,  the  wealth 
of  the  Church  had  been  singularly  diminished,  so  that  the  lesser 
clergy  were  reduced  to  the  last  extremes  of  poverty.  The  eccle- 
siastical lands  and  buildings,  rarely  fortified,  had  everywhere 
been  burned,  sacked,  and  pillaged.  The  rents  and  revenues 
so  enormous  in  the  XII  century  dwindled  to  almost  nothing; 
in  many  parishes  and  abbeys  there  was  no  longer  left  the  where- 
withal to  buy  even  the  barest  necessities  of  life. 

Moreover  the  enemies  of  the  Church  were  gathering  force. 
The  monarchy,  which  under  Philippe-le-Bel  had  first  broken 
the  ecclesiastical  power,  did  not  fail  to  follow  up  its  advantage. 
Charles  VII  by  the  Pragmatic  Sanction  of  Bourges  (1438) 
struck  a  mortal  blow  at  the  authority  of  Rome,  while  pretend- 
ing to  protect  the  Gallic  Church  against  the  pope;  Louis  XI 
(1461-83)  treated  the  clergy  with  a  Machiavellian  nonchalance 
such  as  no  king  of  the  XIII  century  would  have  dared  to 
assume.  The  days  when  the  Church  from  pope  to  village  cure 
presented  a  solid  front  in  the  face  of  its  enemies  were  long 
past;  each  member  now  sought  his  own  personal  and  selfish 
profit  at  no  matter  what  sacrifice  of  the  interests  of  the  body 
ecclesiastic. 

To  the  Church  thus  rotting  within,  and  attacked  from  with- 
out by  its  old  enemy,  the  king,  there  came  a  new  enemy  more 
formidable  still,  —  the  spirit  that  was  to  lead  to  the  Reforma- 
tion. Although  the  Renaissance,  which  was  already  gather- 
ing headway  in  Italy,  had  as  yet  hardly  at  all  penetrated  into 
France,  in  the  strife  of  the  French  Church  with  the  papacy  at 
the  Council  of  Bale  (1434)  was  clearly  heard  the  rumble  of  the 
approaching  cataclysm.  INIen  who  had  learned  to  think  for 
themselves  were  about  to  discard  the  weapons  of  satire  and 
derision  which  had  sufficed  the  malcontents  of  the  XIV  century, 
and  instead  to  take  in  hand  with  a  terrible  earnestness  arms  of 
steel  and  lead. 

In  fact,  the  entire  XV  century  is  a-quiver  with  that  dread- 
ful religious  sincerity,  that  fanaticism,  that  found  its  open  ex- 
pression in  the  religious  wars  of  the  following  century.     The 

367 


THE    FLAMBOYANT   STYLE 

force  was  suppressed,  cxjiicealed;  but  by  that  very  suppression 
it  was  all  the  time  gathering  force  for  the  inevitable  explosion. 
The  XV  centurv  was  the  era  of  bigotrv  and  dogma,  even  above 
all  the  other  periods  of  the  Middle  Ages;  a  time  when  even  the 
broadest  intellects  were  of  an  essentially  narrow  type.  This 
bigotry,  moreover,  often  assumed  the  basest  forms:  the  super- 
stition of  the  XIV  centurv  still  lived  on;  the  gentler  traditions 
of  the  age  of  faith  continued  to  be  forgotten;  relics  were  wor- 
shiped even  more  passionately  than  before;  the  cult  of  the 
saints  was  carried  to  incredible  lengths.  Religion  was  even 
perverted  to  such  grotesque  conceptions  as  the  danses  macabres, 
the  feics  dcs  fous,  the  prevailing  beliefs  in  sorcery  and  magic. 

Thus  in  the  hour  of  political  and  economic  misfortune,  in 
the  midst  of  the  financial  ruin  and  degradation  of  the  Church, 
was  born  flamboyant  architecture  —  the  last  frail  blossom  of 
the  medieval  artistic  genius.  Did  this  art  come  into  being  as 
a  prophetic  manifestation  of  the  great  national  awakening  that 
was  to  produce  Jeaime  d'Arc  and  shake  off  the  English  yoke.'' 
I  should  hardly  dare  affirm  it,  for  the  history  of  architecture 
ever  reflects,  rather  than  presages,  economic  developments. 
The  explanation  must  be  sought  rather  in  necessity.  For  nearly 
a  hundred  years  ecclesiastical  building  had  been  at  a  standstill 
in  France,  at  a  time  when  war,  fire,  neglect  must  have  destroyed 
countless  edifices  of  the  preceding  ages.  Hence  in  many  cases, 
if  religious  worship  were  to  be  continued  at  all,  a  new  church 
must  be  erected.  The  long  time  taken  to  complete  even  the 
comparatively  modest  churches  of  the  early  XV  centuiy  bears 
witness  to  the  difficultv  of  raising  building  funds. 

Flamboyant  architecture  is  essentially  a  part  of  the  epoch 
which  produced  it  —  as  essentially  as  Gothic  architecture  is 
a  part  of  the  XII  and  XIII  centuries.  It  is  necessary  to  take 
this  into  consideration  in  comparing  the  two.  Doubtless  the 
force,  the  purity,  the  sublimity  of  the  earlier  age  is  gone.  Flam- 
boyant architecture  no  longer  leads  us  to  that  strange  strand 
which  seems  not  wholly  to  belong  to  this  world;  its  vaults  no 
longer  pierce  the  heavens.  Gone  is  the  celestial  radiance  of 
the  colored  glass,  gone  the  structural  significance  of  each  part; 
gone,  too,  is  the  simplicity,  the  unfailing  good  taste  in  design. 

368 


3 
•30 


as 


THE  END  OF  THE  MIDDLE  AGES 

Flamboyant  architecture  is  rather  of  this  world,  earthly;  it 
delights  in  technique  for  its  own  sake;  it  studies  detail  rather 
than  the  whole;  it  aims  to  astonish  by  its  minute  carvings,  by 
its  bold  tours  de  force  of  construction,  rather  than  to  appeal  to 
the  sober  sense  of  beauty.  On  occasion  it  even  does  not  hesi- 
tate to  lie  and  cheat,  though  it  is  far  less  addicted  to  this  vice 
than  many  of  its  modern  successors. 

The  flamboyant  style  has  been  not  unjustly  reproached 
with  all  this,  and  much  more.  Yet  I  am  no  more  sure  that 
flamboyant  architecture  is  inferior  to  Gothic  than  I  am  sure 
that  it  is  superior  to  anything  that  has  since  been  produced. 
Nothing  is  more  inexact  than  to  speak  of  this  art  as  "decadent," 
"moribund".;  it  was  only  in  the  XVI  century,  when  taste  had 
been  corrupted  by  the  bastard  forms  of  Italy  and  the  Renais- 
sance, that  the  style  assumed  that  florid  character  which  is 
popularly  connected  with  the  final  phase  of  medieval  art.  In 
the  XV  century,  on  the  contrary,  flamboyant  art  was  excep- 
tionally pure  in  taste,  and  was  always  full  of  life,  of  promise, 
of  vigor.  If  strength  and  robustness  were  lacking,  this  defi- 
ciency was  largely  atoned  for  by  the  daintiness  and  delicacy  of 
the  design,  the  fairy-like  lightness  of  the  fragile  lace-work. 
Pendants,  multiple  rib  vaults,  wavy  mouldings,  florid  orna- 
ment, all  the  other  grotesque  creations  of  the  XVI  century  are 
happily  lacking  in  these  early  buildings.  If  not  great,  flam- 
boyant art  of  the  best  period  is  at  least  free  from  ofi^ence,  and 
not  seldom  —  as  witness  the  choir  of  Mt.-St.-Michel  —  pos- 
sessed of  a  charm  and  purity  which  almost  rivals  the  happiest 
conceptions  of  the  XIII  century. 

The  close  of  the  Hundred  Years'  War  (1456)  was  not  at- 
tended by  any  extraordinary  outburst  of  building  activity. 
The  resources  of  France  had  been  too  thoroughly  exhausted 
to  be  quickly  recouped;  the  degradation  of  the  Church  inspired 
little  enthusiasm  for  erecting  costly  religious  structures.  Fur- 
thermore peace  was  soon  broken  by  the  outbreak  of  the  Bur- 
gundian  Wars  (1474-82)  —  wars  of  no  mean  importance  either 
for  the  extent  of  the  interests  involved  or  for  the  number  of 
belligerents  engaged. 

By  this  time,  it  was  evident  in  every  direction  that  the  end 

369 


THE   FLAMBOYANT   STYLE 

of  the  Middle  Ages  was  at  hand.  Printing  had  been  invented 
c.  1430;  Gutenberg  pubhshed  his  famous  printed  bible  between 
1450  and  1455,  and  the  art  soon  spread  over  all  Europe.  "Ceci 
tuera  cela;  le  livre  tuera  I'eglise."  The  "inspired  bombast"  of 
Victor  Hugo  has  expressed  an  eternal  truth. 

The  position  of  the  Church  was  not  improved.  There  was 
no  hope  of  internal  i-eform  at  the  hands  of  an  Alexander  VI,  a 
Julius  II,  or  a  Leo  X  —  popes  who  were  occupied  solely  in 
protecting  their  Italian  possessions  by  means  of  shifting  diplo- 
macy, and  who  cared  not  at  all  for  the  spiritual,  and  but  little 
for  the  temporal,  welfare  of  the  Church  at  large.  The  famous 
Concordat  of  Bologna,  concluded  between  Leo  X  and  Fran9ois 
I  in  1516,  was  in  effect  nothing  but  a  conspiracy  between  these 
two  powers  to  oppress  and  extort  taxes  from  the  Gallic  Church. 
The  attempts  to  reform  the  body  ecclesiastic  pacifically  from 
within  all  failed  signally;  it  was  only  in  1528,  in  the  full  tide 
of  the  Lutheran  revolt,  that  the  pope  too  late  perceived  the 
necessity  of  putting  his  house  in  order.  The  various  projects  to 
remedy  abuses  by  overriding  the  pope,  by  carrying  out  a  reform 
against  his  will,  had  likewise  been  without  success.  The  doc- 
trine of  superiority  of  council  to  pope,  loudly  proclaimed  at 
the  Councils  of  Constance  (1417)  and  Bale  (1434)  and  in  the 
Pragmatic  Sanction  (1439)  had  miserably  foundered  in  the 
Councils  of  Pisa  and  of  the  Late  ran.  It  was  largely  this  un- 
willingness of  the  Church  to  reform  itself  that  led  to  the  Protest- 
ant revolt. 

Notwithstanding  the  diseased  condition  of  the  Church, 
the  opening  years  of  the  XVI  century  witnessed  great  building 
activity,  brought  about  by  the  material  prosperity  of  the  coun- 
try, which  had  at  last  recovered  from  the  economic  exhaustion 
of  the  Hundred  Years'  War.  !Many  great  cathedrals  whose 
construction  had  been  interrupted  since  the  XIII  century  were 
now  carried  towards  completion:  the  transept  fa9ades  of  Beau- 
vais,  the  western  fa9ades  of  Rouen,  ]\Ieaux,  Troyes  date  from 
this,  the  heroic  age  of  flamboyant  architecture,  the  age  in  which 
were  erected,  if  not  its  most  beautiful,  at  least  its  most  grand- 
iose conceptions. 

Thus  the  culmination  of  flamboyant  art  was  not  anterior 

370 


III.  273.  —  Caudebec-en-Caux.     Interior 


THE  RENAISSANCE 

to,  but  contemporary  with,  tlie  Renaissance.  From  the  last 
decade  of  the  XV  century  the  influence  of  ItaHan  design  is  trace- 
able in  certain  monuments  of  architecture  and  sculpture,  and, 
although  progressing  by  sporadic  and  somewhat  erratic  stages, 
the  influence  of  the  exotic  art  came  to  be  ever  more  and  more 
conspicuous  throughout  France.  The  French  genius,  how- 
ever, in  architecture,  as  in  literature,  painting,  and  sculpture, 
did  not  yield  to  the  new  fashion  without  a  struggle;  much  that 
was  purely  French  and  medieval  mingled  -n-ith  the  new  elements 
in  the  most  classical  monuments.  The  so-called  Renaissance 
chateaux,  which  were  erected  along  the  banks  of  the  Loire  from 
the  first  years  of  the  XVI  century,  continued  until  the  time  of 
Henri  II  (1547-59)  to  be  far  more  flamboyant,  than  Italian  or 
classic,  in  design. 

This  art  of  the  XVI  century,  half  flamboyant,  half  Renais- 
sance, difters  from  that  of  the  Middle  Ages  most  strikingly  in 
its  eclecticism  and  lack  of  uniformity.  The  three  currents  — 
medieval  tradition,  Italian  influence,  classicism,  —  exist  side 
by  side,  combining  in  difl^erent  proportions  to  produce  strik- 
ingly divergent  results.  Any  one  who  did  not  know,  would 
hardly  suspect  that  the  Fran9ois  I  wing  at  Blois,  portions  of  the 
palace  of  Fontaine bleau,  and  St.  Eustache  of  Paris  are  con- 
temporary structures.  The  proportion  of  exotic  elements  intro- 
duced into  architectural  designs  seems  to  have  depended  on 
the  predilections  of  the  client^  the  taste  of  the  architect,  and 
the  distance  of  the  monument  from  the  centers  of  culture.  The 
court  was  above  all  the  starting-point  for  the  new  fashions;  at 
the  court  they  first  gained  permanent  favor,  and  from  the 
court  they  spread.  But  even  the  court  until  c.  1530  hesitated 
to  pronounce  definitely  the  condemnation  of  medieval  art. 

From  the  time  of  the  breaking  out  of  the  doctrines  of  Luther 
in  France  (c.  1520),  Renaissance  and  Reformation  were  con- 
nected by  many  conservative  and  pious  souls,  and  those  who 
were  suspicious  of  the  new  religion  clung  to  the  traditional  type 
of  church  architecture.  The  same  preference  was  shared  by 
such  of  the  bourgeois  as  disliked  the  new  court  fashions  and 
by  the  lower  orders  of  the  clergy  —  the  monks,  the  cures,  the 
vicars.     The  Concordat  of  Bologna,  by  awarding  the  investi- 

371 


THE   FLAMBOYANT   STYLE 

ture  of  benefices  to  the  king,  had  created  two  classes  in  the  clergy. 
The  higher  dignitaries  were  ordinarily  nobles  who  had  been 
given  benefices  by  the  king  in  reward  for  services.  Such  prel- 
ates did  not  reside,  and  merely  received  the  revenues  of  the 
office  without  attending  to  its  duties.  Little  troubled  by  re- 
ligious scruples,  narrowly  connected  with  the  court,  this  class 
favored  the  Renaissance.  The  second  class,  recruited  chiefly 
from  the  ranks  of  University  graduates,  felt  that  their  rightful 
ofiices  were  withheld  from  them  by  royal  favoritism,  and  were 
deeply  jealous  of  the  royal  appointees.  This  class,  therefore, 
tended  to  oppose  the  Renaissance. 

Owing  to  these  conservative  forces,  the  Renaissance  style 
found  its  way  into  ecclesiastical  edifices  but  slowly.  A  tower 
of  Bourges  cathedral  commenced  in  1508  shows  much  Renais- 
sance detail;  at  St.  Ouen  of  Audemer,  finished  in  1524,  the 
Renaissance  elements  predominate  over  the  flamboyant;  at 
Greez-sur-Roc  (Sarthe)  the  choir,  erected  in  1527,  is  of  the  pure 
Renaissance  style.  But  although  these  and  doubtless  many 
other  ecclesiastical  edifices  were  erected  in  the  new  fashion,  the 
majority  of  churches  continued  to  be  built  in  a  more  or  less 
debased  flamboyant  style.  Little  by  little,  however,  the  Renais- 
sance gained  ground,  especially  in  the  more  important  edifices, 
but  it  was  only  in  the  second  half  of  the  XVI  century  that  the 
triumph  of  the  classical  forms  in  ecclesiastical  architecture 
was  assured,  while  country  churches  continued  up  to  the  very 
end  of  the  century  to  be  built  in  the  old  manner.' 

The  power  of  medieval  architecture  was  thus  broken  grad- 
ually; but  it  was  none  the  less  in  the  end  completely  broken,  and 
that  at  the  same  time  and  by  the  same  forces  that  destroyed 
the  medieval  Church,  of  whose  glory  it  was  the  symbol.  As 
Gothic  culminated  under  Innocent  III,  the  flamboyant  style, 
as  a  vital  and  progressive  art,  came  to  an  end  amid  the  Wars 
of  Religion.  The  book  had  killed  the  Church;  and  outside 
of  the  Church  medieval  architecture  found  no  nourishment. 

Flamboyant  art  of  the  XYI  century  shows  many  signs  of 
decadence.      The  architects  have  lost  that  happy  faculty  of  the 

'  The  construction  of  the  Cathedral  of  Orleans  was  steadily  continued  up  to  the  XTX  cen- 
tury in  a  more  or  less  bastard  Gothic  style. 

372 


III.  274.  —  Rouen.   Tour-de-Beurre 


A  DECORATIVE  ART 

earlier  ages,  never  to  err  in  propriety,  and  their  bad  taste  shows 
that  they  have  been  to  school  with  the  Renaissance.  They 
seem  at  times  even  to  delight  in  trying  to  make  their  designs  as 
atrocious  as  possible  (111.  259).  The  florid  ornament  runs  riot 
in  vulgar  and  over-ornate  forms,  unrestrained  by  any  sense  of 
propriety  or  decorum,  while  such  aberrations  as  pendants, 
multiple  ribs,  wavy  mouldings,  and  Renaissance  tracery  dis- 
figure even  the  structural  portions  of  the  building. 

However,  among  many  weeds,  the  last  phase  of  flamboyant 
architecture  has  left  us  a  few  flowers  of  the  rarest  beauty.  The 
transept  ends  of  Beauvais  (111.  240)  —  designs  of  superb  com- 
position, combining  the  most  lavish  detail  with  a  rugged,  an 
almost  austere  grandeur  of  ensemble  —  must  always  be  ac- 
counted among  the  masterpieces  of  medieval  art.  The  fa9ade 
of  Rouen  (111.  269)  is  a  phantasy  full  of  imagination  and  poetry. 
And  between  these  very  good  designs  and  the  very  bad  ones 
stand  many  compositions  of  varying  shades  of  merit.  Thus 
even  in  its  death  agony,  flamboyant  architecture  is  not  alto- 
gether deserving  of  the  obloquy  and  scorn  which  it  has  usually 
received  at  the  hands  of  art  critics. 

Flamboyant  architecture  is  primarily  a  decorative  art. 
Since  the  Gothic  builders  had  perfected  the  structure  to  such  a 
point  that  no  futher  advance  was  possible,  their  successors  of 
the  flamboyant  period  merely  accepted  the  Gothic  stone  skele- 
ton as  they  found  it,  retaining  all  the  distinctive  features  of  the 
XIII  century  church  —  the  glass  walls,  the  vaults,  the  isolated 
supports,  the  flying  buttresses;  they  contrived,  however,  by 
means  of  a  new  system  of  ornament  to  give  the  old  struc- 
tural forms  a  totally  dift'erent  appearance.  This  result  was 
accomplished  at  the  expense  of  strict  artistic  and  architectural 
propriety,  by  making  ornaments  of  structural  forms  and  by 
fashioning  decorations  from  features  intended  to  be  strictly 
structural. 

In  this  the  flamboyant  architects  showed  themselves  the  true 
successors  of  the  master  builders  of  the  XIV  and  even  of  the 
last  half  of  the  XIII  century.  Ever  since  the  problems  of 
Gothic  construction  had  been  fully  solved  there  had  been  an 
increasing  tendency  to  lay  stress  upon  questions  of  design  and 

373 


THE   FLAMBOYANT   STYLE 

decoration  to  the  neglect  6i  the  study  of  the  construction,  which, 
since  it  was  now  perfectly  solved  and  understood,  oflered  little 
opportunity  for  inventive  oi'iginality.  Gradually,  therefore, 
the  structure  came  to  be  subordinated  to  decoration,  and  the 
great  principle  of  the  early  Gothic  masters  was  thus  reversed. 

The  ogee  arch,  which  may  be  taken  as  one  of  the  distinct- 
ive peculiarities  of  the  new  style,  is  essentially  a  non-structural 
feature.  In  fact,  the  arches  themselves  were  seldom  ogee  at 
all,  but  were  ordinarily  merely  surmounted  by  a  heavy  mould- 
ing or  gable  twisted  into  a  form  of  double  curvature  (111. 
270).  "^I'he  point  of  the  ogee  was  commonly  prolonged  and 
crowned  with  a  finial;  in  the  XVI  century  this  idea  came  to 
be  developed  and  carried  to  absurd  lengths  (111.  189).  Yet, 
notwithstanding  such  aberrations,  the  ogee  arch,  whose  lines  are 
usually  full  of  grace  and  charm,  served  excellently  to  harmonize 
the  severe  form  of  a  pointed  arch  with  the  graceful  suave  char- 
acter of  flamboyant  design.  To  adjust  more  smoothly  the  lines 
of  the  arch  with  its  ogee  gable,  the  flattened  or  three-centered 
arch  (111.  270)  was  often  substituted  for  the  pointed  form.  This 
motive  was  at  times  carried  so  far  that  the  arch  became  merely 
a  flat  lintel  with  rounded  corners  (111.  270),  though  the  Tudor, 
or  four-centered  arch,  which  lends  so  much  charm  to  the  per- 
pendicular edifices  of  England,  was  seldom  or  never  employed 
in  France. 

In  one  or  another  of  these  forms  the  flamboyant  builders 
employed  the  ogee  arch  over  doorv.ays,  windo%As,  in  engaged 
arcades,  —  in  every  portion  of  the  edifice  where  there  was  a 
space  to  be  spanned,  or  a  wall  surface  to  be  decorated.  But 
especially  did  they  delight  in  this  motive  in  designing  the  open- 
work carving  that  came  to  surmount  not  only  the  great  portals 
and  the  fa9ades  of  the  nave  and  transepts  but  the  entire  exte- 
rior of  the  building.  Adorned  with  a  mass  of  the  most  intricate 
car\'ings  and  ornament,  the  ogee  arches  wandered  across  a 
background  equally  intricate  and  also  constructed  of  open 
work,  interpenetrating,  intersecting  the  other  mouldings,  form- 
ing a  veritable  lace-work  in  stone,  a  marvel  of  the  last  perfec- 
tion of  technique  in  stone  cutting  (111.  271). 

Until  the  XVI  century  these   lace-work  designs   continued 

374 


III.  275.  —  Spire  of  Caudebec-en-Caux 


THE   OGEE  ARCH 

to  become  ever  more  intricate  and  more  complicated.  At  last, 
however,  the  influence  of  Renaissance  taste  led  to  a  greater 
simplicity  of  design,  but  at  the  same  time  to  a  fondness  for  bold 
florid  curves.  The  delicate  lines  of  the  XV  century,  which, 
however  unarchitectural,  had  always  been  graceful  and  refined, 
yielded  to  vulgar  convoluted  forms  where  the  future  aberrations 
of  the  baroque  style  were  only  too  clearly  foreshadowed.  Even 
in  such  a  characteristically  flamboyant  design  as  the  portal  of 
the  south  transept  of  Senlis  (111.  189)  the  Renaissance  feeling 
in  the  curve  of  the  central  ogee  is  unmistakable. 

The  ogee  arch  flourished  also  in  the  canopies  placed  over 
the  niches  that  played  so  large  a  part  in  flamboyant  decoration. 
These  canopies  were  employed,  especially  on  the  fa9ades,  with 
incredible  profusion,  and  were  lavishly  decorated  with  the  most 
elaborate  open-work  carvings.  In  this  jewel-like  decoration, 
since  the  whole  canopy  was  carved  out  of  one  block  of  stone, 
it  was  possible  to  leave  the  arches  without  visible  supports, 
hung  as  it  were  in  the  air  —  a  freak  of  design  which  so  entranced 
the  flamboyant  builders  that  they  soon  invented  means  of  exe- 
cuting hanging  arches  on  a  large  scale,  as  in  the  south  porch  of 
Louviers  (111.  271).  The  trick  of  construction  by  which  this 
tour  de  force  was  accomplished  is  immensely  clever,  and  gives 
much  the  same  sort  of  pleasure  as  seeing  a  trained  dog  prome- 
nade on  his  hind  legs;  it  is,  however,  impossible  not  to  feel 
that  in  such  constructions  as  this  the  great  art  conceptions  of 
the  XIII  century  have  been  strangely  perverted. 

The  same  decorative  principle  —  the  line  of  double  curva- 
ture —  that  led  to  the  popularity  of  the  ogee  arch,  governed  the 
design  of  flamboyant  tracery.  Very  fittingly,  the  entire  style 
takes  its  name  from  the  flame-like  (flamboyant)  movement  of 
the  lines  assumed  by  the  mullions.  In  the  rayonnant  period 
the  tracery  had  always  retained  forms  nearly  geometrical  in 
character,  and  could  almost  always  be  reduced  to  curves  form- 
ing portions  of  circles  of  different  diameters;  but  the  curves  of 
flamboyant  tracery  are  no  longer  geometrical  —  they  are,  on 
the  contrary,  undulating  lines  of  varying  curvature  as  free  and 
graceful  as  those  of  the  modern  art  nouveau.  In  the  Gothic 
style  the  curve  had  always  been  continuous  in  the  same  sense, 

375 


THE    FLA:kIBOYAXT   ST\XE 

—  always  concave,  or  always  convex.     In  flamboyant  tracery 
the  same  lines  curve  now  to  one  side,  now  to  the  other. 

This  new  tracery  {I\\.  !269,  '•271,  etc.)  often  assumed  forms 
full  of  grace  and  charm,  which  must  be  ranked  among  the 
loveliest  conceptions  of  pure  design  ever  executed.  Moreover 
the  new  principle  placed  an  infinite  variety  of  possible  com- 
binations at  the  disposition  of  the  artist.  Yet,  after  all,  such 
soft  and  lithe  curves,  making  the  mullions  appear  like  twisted 
willow  rods,  were  hardly  suitable  for  the  character  of  the  stone 
material,  which  lost  its  natural  massiveness  and  dignity  under 
such  treatment. 

It  has  been  suggested  that  the  pointed  forms  of  flamboyant 
tracery  may  have  been  invented  in  order  to  obviate  the  great 
circles  of  rayonnant  design,  which  oft'ered  more  or  less  lodging 
place  for  rain  water.  But  it  is  very  doubtful  whether  the  large 
rounded  loops  of  rayonnant  tracer}'  were  much  more  liable  to 
disintegration  from  moisture  than  the  pointed  pockets  of  the 
flamboyant  style,  which  were  well  calculated  to  collect  and  hold 
the  rain  water;  and  at  all  events  sufiicient  protection  from  the 
weather  seems  to  have  been  furnished  by  the  sloping  profiles  of 
the  rayonnant  mouldings.  It  is,  therefore,  probable  that  the  de- 
sign of  the  tracery,  like  all  the  other  innovations  of  the  flamboyant 
period,  was  influenced  solely  by  decorative  considerations. 

Flamboyant  tracery  is  by  no  means  of  even  merit,  for  if 
it  includes  occasionally  veritable  little  masterpieces  of  design, 
much  of  it  is  commonplace  and  uninteresting,  while  some  is 
the  product  of  florid  and  depraved  taste.  In  the  X^^  century 
especially,  much  of  the  tracery  is  over-elaborate  and  often 
assumes  bizarre  and  contorted  forms.  A  reaction  sprang  up, 
fostered  by  the  influence  of  Renaissance  taste.  The  designs 
were  simplified  to  bareness;  the  mullions  were  made  far  more 
heavj';  round  or  elliptical  curves  of  a  decidedly  baroque  char- 
acter were  substituted  for  the  flame  movements.  The  use  of 
this,  which,  notwithstanding  the  apparent  contradiction  of 
terms,  we  may  call  Renaissance  tracery,  marked  the  last  phase 
of  the  flambovant  stvle.  The  designs,  alwavs  of  the  most  des- 
perate  poverty  of  invention,  are  characterized  by  neither  beauty 
nor  originahty  (111.  -21'-2). 

376 


::  :'-''""-i:^';'^'qgJ!!ig n  wLj^  ^.^  -::^^s^^^. 


111.  276.  —  Notre  Dame-de-1 'Epine.    Fafade 


TOWERS  AND   SPIRES 

Flamboyant  tracery,  far  from  being  confined  to  the  win- 
dows, was  a  favorite  decoration  for  well-nigh  every  part  of  the 
church  building.  It  adorned  the  interstices  of  the  portals,  the 
open  work  of  the  gables,  the  balustrades  in  which  the  flam- 
boyant builders  took  such  delight;  it  was  used  as  an  applique 
decoration  for  blank  wall  surfaces;  even  the  spires  were  con- 
structed of  it.  Everywhere  the  tracery  preserved  the  same 
character,  the  same  lines  of  double  curvature,  the  design  being 
merely  adapted  to  the  shape  of  the  field.  And,  as  in  the  win- 
dow tracery,  the  patterns,  although  often  of  the  greatest  deli- 
cacy, are  apt  to  lack  architectural  dignity. 

In  all  parts  of  the  edifice,  the  details  were  so  designed  as 
to  harmonize  with  the  ogee  and  flaming  lines,  which  struck 
the  key-note  of  flamboyant  design.  Even  the  flying  buttresses 
came  to  assume  a  sort  of  ogee  form,  and  curve  downwards 
instead  of  upwards.  Since  the  lines  of  double  curvature  in 
ogee  arch  and  flowing  tracery  characteristically  met  in  sharp 
angles,  this  same  feeling  was  applied  to  the  design  of  the  entire 
edifice,  so  that  a  fondness  for  points  and  sharp  corners  became 
one  of  the  distinctive  peculiarities  of  the  style.  The  profiles 
all  were  made  sharply  prismatic;  at  Conches  the  piers  are 
diamond  shaped  in  plan;  at  Caudebec-en-Caux  and  in  many 
other  churches  the  chevet  is  made  to  end  in  an  angle,  even  at 
the  expense  of  placing  a  column  on  axis  (111.  273). 

The  one  important  structural  innovation  introduced  by  the 
flamboyant  builders  —  and  that  an  innovation  of  design  rather 
than  of  structure  —  was  a  new  device  to  adjust  the  octagonal 
spire  to  the  square  tower.  As  in  the  XIII  century,  between 
the  tower  and  spire  was  inserted  a  vertical  octagonal  drum. 
The  summit  of  the  square  tower  was  marked  by  a  balustrade, 
whose  strong  horizontal  lines,  however,  were  broken  in  the  best 
designs  by  buttresses  carried  through,  or  by  intersecting  open- 
work gables  (111.  238,  190,  274,  275).  Above  this  balustrade 
rose  strongly  marked  angle  turrets,  similar  to  those  which  had 
characterized  the  spires  of  the  XIII  century;  occasionally,  as 
at  Caudebec-en-Caux  (111.  275)  or  in  the  Tour-de-Beurre  of 
Rouen  (111.  274),  four  extra  turrets  were  added,  crowning  but- 
tresses in  the   middle  of  each  face.     The   distinctive  features 

377 


THE  fla:\iboyant  style 

of  these  flamboyant  tow^'ers,  however,  are  the  flying  buttresses 
which  are  sprung  from  the  angle  or  face  turrets  to  the  main 
tower  —  buttresses  which  may  add  sUghtly  to  the  strength  of 
the  tower,  but  whose  chief  purpose  is  to  unify  the  design  and 
lead  the  eye  smoothly  from  square  to  octagon.  Similarly  fly- 
ing buttresses  connect  the  turrets,  which  crown  the  octagonal 
tower,  with  the  spire,  if  this  exist.  The  spires  themselves  are 
sometimes  comparatively  simple  as  at  Chartres  (111.  190),  more 
often  constructed  of  elaborate  open-work  tracery,  as  at  Caude- 
bec-en-Caux  (111.  275),  or  Notre  Dame-de-l'Epine  (111.  276). 

Without  question  certain  of  these  spires  are  among  the 
finest  achievements  of  the  flamboyant  style,  and  we  are  fortu- 
nate in  possessing  a  comparatively  large  number  of  excellent 
examples.  The  design  often  lacks,  it  is  true,  the  simplicity 
and  dignity  of  the  early  Gothic  spires  of  the  He  de  France,  the 
sense  of  proportion  of  the  XIII  and  XIV  century  productions 
of  Normandy.  The  excess  of  detail  often  gives  a  feeling  of 
restlessness,  and  obscures  the  main  lines  of  the  composition. 
Notwithstanding  this  weakness,  however,  the  flamboyant  spire, 
at  its  Ijest,  still  remains  a  masterwork  of  design;  the  northern 
spire  of  Chartres,  for  example,  is  not  unworthy  to  take  its  place 
beside  one  of  the  noblest  creations  of  the  preceding  centuries 
(HI.  190).  On  the  other  hand,  to  what  depths  these  designs 
could  descend  at  their  worst  is  sufiiciently  witnessed  by  the 
spires  of  Notre  Dame-de-l'Epine  (111.  276). 

In  the  treatment  of  the  fa9ade,  flamboyant  architecture  in 
the  main  simply  applied  its  own  characteristic  ornament  to  a 
design  essentially  the  same,  in  its  larger  features,  as  that  which 
had  been  established  by  the  Gothic  builders.  Thus  the  fa9ade 
of  Notre  Dame-de-rEpine  (111.  276)  follows  completely  the  Gothic 
tj'pe  in  its  main  di-visions;  the  fa9ade  of  Troves  (El.  277)  re- 
peats the  mistake  of  Paris  (111.  223),  suggesting  a  three-aisled 
church,  rather  than  the  five-aisled  edifice  which  it  actually  pre- 
cedes. In  the  facade  of  Rouen  (111.  269)  all  attempt  to  express 
externally  the  interior  dispositions  was  abandoned.  As  a  piece 
of  pure  design  this  west  front  is  singularly  light  and  fanciful,  and 
sham  though  it  be,  must  be  ranked  among  the  most  graceful 
and   original   of  flamboyant   constructions.     Nothing   could  be 

378 


III.  279.  —  Notre  Dame  of  Alenfon.     Facade 


FACADES 

more  picturesque  than  the  buttresses  which  mark  the  vertical 
bays;  nothing  more  charming  than  the  dainty  arcade  which 
forms  the  upper  story.  Notwithstanding  the  profusion  of  detail 
the  composition  as  a  whole  is  well  ordered;  the  large  divisions 
are  never  obscured  by  the  ornament.  But  of  all  flamboyant 
fa9ades  at  once  the  most  ambitious  and  most  successful  is  the 
south  transept  end  of  Beauvais  (111.  240),  a  stirring  and  rhyth- 
mical composition  of  colossal  dimensions,  in  which,  for  once, 
flamboyant  art  attained  the  dignity  of  an  earlier  age. 

During  the  XV  century,  especially  in  Normandy,  porches 
of  considerable  depth  were  built  before  the  portals  of  country 
churches,  possibly  to  serve  as  a  secular  meeting-place  for  the 
people  of  the  parish.  It  was  probably  from  this  germ  that 
developed  the  great  porches  that  became  one  of  the  glories  of 
the  flamboyant  style  of  Normandy.  These  porches,  which 
occupied  the  entire  breadth  of  the  fa9ade,  were  usually  erected 
on  a  plan  including  three  or  five  sides  of  a  polygon.  Of  imposing 
dimensions,  ornamented  with  all  the  splendors  of  flamboyant 
decoration,  such  a  porch  formed  a  frontispiece  of  the  greatest 
beauty  and  originality.  Excellent  examples  of  this  remarkable 
feature  exist  at  St.  Maclou  of  Rouen  (111.  278),  Notre  Dame 
of  Caudebec-en-Caux,  and  Notre  Dame  of  Alen9on  (111.  279). 

Another  remarkable  peculiarity  of  flamboyant  design  is  the 
angle  buttress.  In  the  Gothic  period  it  had  been  customary 
to  place  two  buttresses  on  every  corner,  one  continuing  the 
direction  of  each  wall;  but  in  a  polygonal  apse  or  chevet,  where 
this  construction  became  awkward,  a  single  buttress  had  been 
placed  square  against  the  angle.  The  flamboyant  builders, 
attracted  partly  by  motives  of  economy,  partly  by  their  innate 
love  of  intersections  and  penetrations,  used  such  angle  but- 
tresses even  on  square  corners. 

In  the  departement  of  Aube  rural  churches  were  ordinarily 
constructed  with  three  aisles,  all  of  equal  height.  To  avoid 
an  unduly  elevated  gable  roof  the  side  aisles  were  roofed  with 
a  series  of  parallel  gables  set  at  right  angles  to  the  main  axis. 
This  peculiar  disposition  will  be  clear  from  the  diagram  (111. 
280). 

The  alterations  which  the  flamboyant  builders  introduced 

379 


'  THE    FLAMBOYANT   STYLE 

into  the  interior  of  the  church  v,ei-e  more  vital  than  those  which 
they  wrought  in  the  exterior  design,  though  here,  too,  the  changes 
were  preeminently  of  a  decorative  character.  At  St.  Satur  we 
have  seen  capitals  reduced  to  a  purely  decorative  role,  their 
structural  significance  having  been  completely  destroyed ;  it  was 
only  natural  and  logical  that  the  flamboyant  artists  should  omit 
capitals  altogether.  Rarely,  these  members  were  retained,  but  if 
so,  they  were  treated  as  ornaments.  The  round  or  polygonal 
abacus  projected  but  very  slightly;  in  fact  the  entire  composition 


III.  280.  —  Roof  Scheme  of  Churches  of  Aube 


became  merely  a  series  of  mouldings,  the  largest  hollow  of  which 
was  filled  with  a  sarland  of  foliage.  The  builders  who  seem  to 
have  realized  the  shortcomings  of  such  insignificant  excrescences, 
studied  to  omit  the  crowning  member  wherever  possible.  When 
load  and  support  were  of  the  same  shape  and  size,  this  could 
be  done  easily;  but  even  when  these  conditions  did  not  exist 
the  architects  managed  to  obviate  the  capital  by  means  of 
interpenetrating  and  disappearing  mouldings. 

ISIouldings,  which  simply  merged  into  each  other  or  faded 
away  in  the  wall,  were  not  an  entirely  new  idea,  since  a  few 
exceptional  examples  may  be  found  in  bviildings  of   the  XIV 

380 


III.  281. — Abbeville.      Interior 


Iix.  282.  —  St.  Germain  of  Amiens.     Interior 


INTERPENETRATIONS 

century  —  in  the  porch  of  St.  Urbain  of  Troyes,  at  the  cathedrals 
of  Carcassonne  and  Chalons-sur-Marne,  in  the  nave  of  Albi, 
and  at  Ste.  Croix  of  Bernay.  It  is  also  interesting  to  remark, 
in  view  of  the  fact  that  the  flamboyant  style  is  suspected  of 
having  been  strongly  influenced  by  English  models,  that  pene- 
trations occur  in  England  from  as  early  as  the  end  of  the  XIII 
century, — e.g.,  at  Christchurch  (Hampshire).  At  all  events, 
from  whatever  the  flamboyant  builders  derived  this  idea,  they 
adopted  it  with  enthusiasm.  Not  only  was  one  rib  made  to  fuse 
with  another,  and  both  fade  into  the  wall  or  system,  not  only 
did  open-work  gable  intersect  horizontal  moulding  and  base 
overlap  base,  but  the  architects  seem  to  have  fairly  exhausted 
themselves  in  conceiving  the  most  puzzling  arrangements  of 
superimposed  plan.  A  buttress  square  at  its  base  as  it  ascends 
becomes  diamond-shaped,  then  octagonal,  the  successive  por- 
tions all  mutually  interpenetrating.  Ribs  disappearing  in  a 
columnar  support  reappear  at  the  bottom  in  precisely  the  same 
profile,  and  receive  separate  bases.  The  execution  of  these 
subtle  and  complex  designs  demanded  the  highest  skill  in  stone 
cutting,  and  it  is  impossible  to  withhold  that  astonishment  which 
the  builders  doubtless  aimed  to  excite.  Yet,  after  all,  these 
lines  that  melt  into  each  other,  or  fade  away  in  the  wall,  give  an 
impression  of  uncertainty,  of  weakness,  that  painfully  mars  the 
I  effect  of  even  the  best  flamboyant  interiors,  such  as  that  of 
Caudebec-en-Caux  (111.  273). 

In  the  early  XV  century,  the  golden  age  of  the  flamboyant 
style,  the  disappearing  moulding  was  but  little  used,  the  mould- 
ings generally  being  continuous  from  floor  to  archivolt  or  rib, 
as  at  Abbeville  (111.  281),  or  St.  Germain  of  Amiens  (111.  282). 
Such  systems  do  not  lack  elegance,  for  the  strongly  accentuated 
and  multiplied  vertical  lines  lend  the  composition  a  character 
of  loftiness,  almost  of  strength.  ^Mien,  however,  in  the  last 
half  of  the  XV  century  cylindrical  supports  came  to  be  generally 
substituted  for  compound  piers,  the  ribs  and  archi volts  were 
almost  invariably  made  to  melt  into  these  pillars.  Notwith- 
standing the  elegance  of  the  technique,  such  designs  leave  an 
unpleasant  impression  of  indecision  (111.  283).  The  most 
degraded  of  all  forms  of  moulding,  however,  is  found  in  certain 

381 


III.  284.  —  Xotre  Dame,  Aleiifon.     Interior 


PENDANTS 

The  flamboyant  builders,  however,  carried  the  ornamenta- 
tion of  their  vaults  to  even  greater  lengths,  adorning  the  key- 
stones with  great  hanging  pendants.  These  pendants  were 
also  doubtless  imported  from  England,  where  the  feature  had 
been  developed  to  meet  the  exigencies  of  design  in  fan  vaulting, 
although  here,  too,  the  Gothic  builders  had  taken  a  few  steps 
in  the  same  direction.  From  the  earliest  times  of  the  transi- 
tion it  had  been  the  custom  to  carve  with  especial  elaboration 
the  keystone  of  the  diagonal  ribs,  a  member  whose  highly 
important  structural  function  in  joining  and  supporting  the 
two  arches  was  thus  appropriately  called  to  the  attention  of 
the  eye.  In  the  XIV  century  this  ornament  was  often  developed 
into  an  elaborate  excrescence,  often  projecting  some  inches 
below  the  stone  itself;  and  in  the  early  flamboyant  period  the 
keystone  was  regularly  decorated  with  the  escutcheon  of  the 
donors  of  the  edifice,  carved  with  great  elaboration  and  often 
unduly  large. 

Such  keystones  probably  suggested  the  use  of  the  English 
pendant  in  a  position  that  feature  was  never  meant  to  occupy, 
and  one  which  deprived  it  of  the  little  justification  for  existence 
that  it  had  ever  possessed.  These  great  carved  stones,  hang- 
ing down  a  foot  or  so  from  the  surface  of  the  vault  and  supported 
by  a  trick  of  construction,  are  not  only  absolutely  unstructural, 
but  are  without  any  compensating  beauty  of  design.  The  best 
of  the  English  pendants,  in  the  Henry  VII  chapel  of  West- 
minster, or  at  Christ  Church,  Oxford,  although  much  over- 
praised by  the  unthinking  tourist,  are  entirely  reprehensible 
from  an  architectural  and  even  from  an  esthetic  standpoint; 
they  yet  possess  a  certain  fineness  of  detail,  and  a  sense  of 
composition  that  raises  them  far  above  the  debased  French 
imitations. 

The  coarseness  and  vulgarity  of  these  French  pendants 
may  be  judged  from  the  vaults  of  St.  Pierre  of  Caen  (111.  259) 
or  of  the  crossing  of  St.  Etienne-du-Mont  (111.  283).  Not 
content  with  one  of  these  monstrosities  to  each  vault,  the  flam- 
boyant builders  proceeded  to  increase  the  number,  placing  a 
pendant  at  each  intersection  of  the  multiple  ribs. 

Happily  such  aberrations  are  a  symptom  of  the  last  deca- 

383 


THE    FLAMBOYANT   STYLE 

dence  of  the  style,  and  mar  comparatively  few  monuments. 
Pendants  are  extremely  rare  before  the  XVI  century;  the  church 
of  Villenaux,  dedicated  in  1449,  contains,  I  believe,  the  earliest 
example  of  their  use.  The  aisle  vaults  of  Pont-l'Eveque  (Cal- 
vados) are  furnished  with  pendants  which  must  date  from  c. 
1490,  and  from  this  moment  the  feature  is  of  not  infrequent 
occurrence. 

In  other  directions  the  flamboyant  style  preserved  essen- 
tially unchanged  the  main  features  of  Gothic  design.  The 
triforium  was  sometimes  glazed;  sometimes  was  retained  in 
essentially  its  old  form  —  as  at  Notre  Dame  of  Alen9on  (111. 
284)  or  Caudebec-en-Caux  (111.  273);  sometimes  was  reduced 
to  a  balustrade  —  as  at  St.  Pierre  of  Coutances  (111.  285) ;  or 
sometimes  was  altogether  omitted  —  as  at  St.  Germain  of  Amiens 
(111.  282)  or  St.  Etienne-du-Mont  (111.  283).  Of  all  these  forms 
the  glazed  triforium  is  the  least  frequent,  being  rarely  used 
except  in  constructions  built  in  continuation  of  an  unfinished 
rayonnant  building. 

Such  varied  triforium  designs  are  merely  a  manifestation 
of  a  new  spirit  of  eclecticism  which  is  conspicuous  in  flamboy- 
ant art.  The  individual  architect  is  everywhere  coming  into 
prominence;  his  tastes,  his  preferences,  his  caprices,  rather  than 
the  contemporary  style,  govern  the  design.  Progress  in  the  old 
collective  sense  is  being  gradually  abandoned;  a  given  feature 
is  used  now  here,  now  there  in  a  purely  arbitrary  manner,  and 
it  is  no  longer  possible  to  tell  the  approximate  date  of  a  building 
from  a  glance  at  the  style.  In  the  archaistic  designs  of  the 
tower  of  Lisieux,  —  a  monument  built  in  the  XVI  century  in 
conscious  imitation  of  the  style  of  the  transition  —  or  of  the 
choir  of  Notre  Dame-de-l'Epine,  we  are  face  to  face  with  the 
Individual  —  the  Individual  in  the  Renaissance  and  modern 
sense  of  the  word  —  thoroughly  out  of  sympathy  with  the  spirit 
of  his  times  and  trying  in  vain  to  struggle  for  higher  and  better 
things.  Such  a  state  of  affairs  in  the  XIII  century  would  be 
unthinkable.  Similarly  in  the  naves  of  St.  Ouen  of  Rouen, 
Troyes,  Chalons-sur-Marne,  and  Meaux  there  are  present  fea- 
tures absolutely  at  variance  with  the  prevailing  tendencies  of 
flamboyant  design,  features  which  it  is  impossible  to  explain 

384 


III.  285.  —  St.  Pierre,  Coutances.     Interior 


PROFILES 

altogether  as  having  been  introduced  to  harmonize  with  the 
ear  Her  portions  of  these  buildings.  In  Normandy,  in  the  full 
flamboyant  period,  country  churches  like  Villedieu-les-Poeles 
—  doubtless  from  reasons  of  economy  —  continued  to  be  sup- 
plied with  lancet  windows  without  tracery.  In  such  eclectic 
tendencies  apparent  everywhere  in  flamboyant  design  as  in  so 
much  else,  this  final  phase  of  medieval  art  was  the  prophet  of 
the  Renaissance  and  modern  styles.  The  growing  independ- 
ence of  the  master  builders  was  the  last  step  in  the  evolution 
of  the  modern  architect. 

Into  the  domain  of  ornament,  flamboyant  art  introduced 
m.uch  that  was  new  and  original.  The  profiles  are  character- 
ized by  the  use  of  prismatic  forms  and  sharp  edges;  the  Gothic 
three-quarter  rounds  are  omitted  altogether  (111.  281)  or  are 
given  an  angular  character  by  the  addition  of  a  fillet  on  the 
outer  edge.  The  projecting  portions  of  the  archi volts  —  as  at 
Abbeville  (111.  281) — consist  of  sharp  edges  formed  by  the 
intersection  of  two  receding  members,  whose  profiles  are  often 
of  double  curvature,  analogous  to  the  lines  of  the  ogee  arch  or 
'  flowing  tracery.  The  mouldings  have  been  made  much  smaller 
and  much  more  numerous;  for  a  few  strong  lines  have  been 
substituted  many  lighter  ones. 

The  vertical  profile  of  the  bases  remains  essentially  unchanged 
from  the  XIV  century;  two  tori  divided  by  a  scotia  are  still 
placed  on  a  very  much  elongated  plinth.  Yet  the  profiles  of 
scotia  and  tori  are  no  longer  simple,  but  have  become  subtle 
lines  often  of  surpassing  beauty,  and  occasionally  even  of  double 
curvature.  The  distinguishing  feature  of  the  flamboyant  base, 
however,  is  the  interpenetration  of  its  members,  for  the  bases 
of  the  projecting  mouldings  placed  at  a  higher  level  penetrate 
the  main  bases  of  the  pier.  Notwithstanding  the  somewhat 
over-complex  character  of  this  motive,  it  is  often  executed  with 
such  technical  skill  as  to  produce  results  of  rare  grace  and 
charm   (111.  281). 

In  the  treatment  of  the  ornamental  flora  and  fauna,  flam- 
boyant architecture  simply  pursued  the  way  pointed  out  by 
the  XIV  century.  Since  capitals  were  largely  eliminated,  the 
opportunities  for  decoration  in  leaf-forms  were  much  reduced. 

385 


THE    FLAMBOYANT   STYLE 

although  crockets,  string-courses,  the  all-over  patterns  of  tym- 
pana, etc.,  still  offered  much  chance  for  vegetable  ornament. 
The  plant  forms  —  except  in  the  XVI  century,  where  under 
the  influence  of  the  Renaissance  the  acanthus-leaf  reappeared 
—  were  extremely  naturalistic  and  detailed,  thus  acquiring  a 
somewhat  restless  character.  They  at  times  also  tended  to 
become  rather  coarse  and  florid;  the  leaves  were  often  given 
crispy,  wavy  edges,  as  in  the  doorway  at  Rue  (111.  286). 

Flamboyant  animals  are  also  thoroughly  unconventional. 
In  the  birds  and  the  deer  that  are  carved  among  the  vines  of 
the  string-courses,  in  the  gargoyles  that  climb  down  from  the 
eaves,  and  in  the  grotesques  that  eat  the  foliage  of  .the  crockets, 
conventionalization  and  idealism  have  no  place.  These  ani- 
mals, too,  are  coming  to  assume  a  somewhat  florid  character; 
their  hair  executed  with  great  detail  tends  to  kink  into  curves 
savoring  of  the  Renaissance;  the  wing  of  one  of  the  gargoyles 
on  the  porch  of  Bernay  (111.  270)  forms  a  classic  scroll. 

Also  prophetic  of  the  Renaissance  is  the  flamboyant  love 
of  spiral  paneling  on  columns  and  doorways.  One  of  the  col- 
umns of  Ste.  Croix  of  Provins  (111.  287)  calls  to  mind  the  spiral 
flutings  and  twisted  columns  of  Early  Christian  times,  so  fre- 
quently copied  by  the  Renaissance  artists.  Since  wall  paint- 
ings of  the  XV  century  are  extant  in  tolerable  preservation  at 
Auvers-le-Hamon  (Sarthe),  Cre-sur-Loire  (Sarthe),  Brinay 
(Cher),  and  in  several  other  country  churches,  it  is  altogether 
probable  that  colored  ornament  was  freely  employed  in  the 
decoration  of  all  flamboyant  edifices,  being  applied  to  statues, 
ornamental  carvings,  and  blank  wall  spaces.  This  system  of 
decoration  doubtless  continued  in  vogue  until  the  "superior" 
taste  of  the  Renaissance  changed  all  the  medieval  traditions, 
although  the  fact  that  the  fragments  of  mural  decoration  that 
have  come  down  to  us  from  this  comparatively  recent  epoch 
are  so  few,  gives  reason  to  believe  that  the  flamboyant  artists 
employed  color  decoration  much  less  than  their  Gothic 
predecessors. 

Fortunately  some  idea  of  flamboyant  coloring  may  be  ob- 
tained from  the  timber  roofs,  a  certain  number  of  which  —  at 
Bazouges-sur-Loire,  Gallardon,  Largny,  Viffort,   Feings,   Trou- 

386 


III.  286.  —  Eglise  du  St.  Esprit,  Rue.     Door  of  the  Stairway 


STAmED   GLASS 

quoy,  Lavare,  etc.  —  preserving  traces  of  their  original  color 
decoration,  have  come  down  to  us.  Like  the  Gothic  builders, 
the  flamboyant  designers  always  preferred  a  vault;  a  timber 
roof  was  resorted  to  only  in  country  churches,  where  it  was 
impossible  to  raise  sufficient  funds  for  a  vaulted  edifice.  Con- 
sequently timber  roofs  were  never  used  in  work  of  the  highest 
class.  Nevertheless  these  designs  are  so  satisfactory  as  to  give 
a  high  idea  of  what  must  have  been  the  results  of  color  decora- 
tion in  the  great  monuments. 

Of  the  stained  glass  of  the  late  XV  and  XVI  centuries  there 
is  no  lack  of  examples.  This  art  is  thoroughly  pictorial  in  char- 
acter, and  genre  scenes  —  genre  none  the  less  although  purport- 
ing to  represent  biblical  or  legendary  scenes  —  are  portrayed 
with  a  realism  which  in  the  fat  figures  of  the  women,  the  coarse 
features  of  the  men,  at  once  betrays  the  influence  of  Flemish 
models.  Nevertheless  these  w^indows  are  not  without  redeem- 
ing features;  if  many  are  bad,  and  most  indifferent,  at  least  a 
few  may  be  thoroughly  enjoyed  —  not  as  architectural  acces- 
sories, they  are  never  that  —  but  as  translucent  pictures.  The 
broad  fields  of  red  and  blue  employed  are  at  times  of  luscious 
beauty,  while  even  the  strange  yellows  and  greens  and  grays,  which 
tend  to  give  so  sickly  a  tone  to  the  ensemble,  are  not  without 
their  peculiar  charm  when  the  composition  is  considered  solely 
in  itself.  The  photograph  (111.  288)  while,  of  course,  lacking 
the  all-essential  qualification  of  color,  will  give  some  idea  of 
the  general  character  of  the  design  of  stained  glass  in  the  very 
last  years  of  the  flamboyant  period.  It  is  evident  that  we  have 
here  left  the  era  of  the  Middle  Ages,  and  entered  upon  that  of 
the  Renaissance. 

In  sculpture  the  same  realistic  tendencies  and  the  same 
Flemish  influence  are  conspicuous.  In  fact,  it  is  probable 
that  many  of  the  flamboyant  sculptors  were  Flemings,  so  com- 
pletely did  this  French  art  follow  the  lead  of  the  Low  Coun- 
tries. The  minute  and  realistic  detail  cultivated  by  this  school 
left  no  place  for  idealism,  nor  was  the  least  attempt  made  to 
adapt  these  self-sufficient  sculptures  to  their  architectural  en- 
vironment. The  figures  of  the  choir  screen  of  Amiens  (111. 
289),  for  example,  while  full  of  life  and  action,  and  while  grouped 

387 


THE   FLAMBOYANT   STYLE 

with  a  sense  of  composkion  wortliy  of  the  best  traditions  of 
the  Renaissance,  are  thoroughly  unarchitectural  in  character. 
Although  sculpture  was  thus  declaring  its  independence  and 
pursuing  its  own  way  without  regard  of  the  requirements  of  its 
sister  art,  architecture  was  placing  greater  reliance  than  ever 
before  on  sculpture.  The  niche,  destined  to  shelter  a  statue, 
was  one  of  the  fundamental  motives  of  flamboyant  decoration 

—  a  motive  the  builders  never  wearied  of  repeating  over  and 
over  again  in  all  portions  of  their  buildings.  The  greater  num- 
ber of  these  myriad  niches  were  probably  never  filled  with  sculp- 
tures, though  of  course  the  images  of  many  that  now  stand 
empty  have  been  destroyed  by  time  or  iconoclasts.  Notwith- 
standing, however,  the  great  number  of  flamboyant  sculptures 
that  have  thus  been  lost,  an  enormous  number,  good,  bad,  and 
indifferent,  have  come  down  to  us. 

In  the  XVI  century,  sculpture,  like  architecture,  was  affected 
by  the  Italian  and  classical  influences  of  the  Renaissance.  At 
first    appearing    sporadically  in    a  few   works    here    and  there 

—  the  sculptures  at  Solesmes  are  as  early  as  the  last  decade  of 
the  XV  century  —  by  the  middle  of  the  XVI  century  the  new 
influence  had  profoundly  modified  the  entire  art.  French  sculp- 
ture of  the  Renaissance,  a  combination  of  antique,  Flemish, 
and  Italian  elements,  was  in  no  way  great  or  truly  national. 
The  few  works  of  high  merit  which  it  produced,  moreover, 
were  always  separate  compositions,  tombs,  or  portraits,  or  com- 
memorative groups,  executed  in  marble  instead  of  in  stone  and 
never  intended  to  serve  as  architectural  accessories. 


It  is  unnecessary  to  study  here  those  mongrel  ecclesias- 
tical edifices  which  combine  the  Renaissance  and  flamboyant 
styles  —  monuments  which,  as  a  rule,  combine  all  that  is  florid, 
bizarre,  and  of  bad  taste  in  either  style.  In  secular  architec- 
ture, indeed,  in  the  chateaux  and  hotels  of  the  first  half  of  the 
XVI  century,  the  Renaissance  united  with  dying  flamboyant 
to  form  creations  of  surpassing  charm;  but  in  religious  build- 
ings the  combination  was  rarely  successful.  The  photograph 
of  the  nave  of  St.  Etienne-du-Mont  (111.  283)  —  one  of  the  most 

388 


III.   288.  —  Stained   Glass  of   the  late   XVI   century,  liourges   Cathedral. 
(From  Meloizes) 


u 


ST.   ]\LA.CLOU 

refined  of  these  "transitional"  churches,  —  or  of  the  choir  of 
St.  Pierre  of  Caen  (111.  259),  will  give  a  sufficient  idea  of  the  death 
agony  of  flamboyant  architecture. 

The  task  of  recording  these  final  convulsions  belongs  rather 
to  the  historian  of  the  architecture  of  the  Renaissance,  of  that 
new  epoch  which  was  dawning  upon  the  artistic  world  with  a 
sky  so  full  of  doubt  and  ill-omen.  The  course  of  the  art  of  the 
Middle  Ages  had  been  run.  Born  in  obscurity  and  baseness, 
this  wonderful  architecture  had  by  its  own  virtue  raised  itself 
to  the  loftiest  heights  which  it  is  perhaps  granted  for  human 
art  to  attain;  it  had  long  maintained  its  supremacy;  at  last  it 
had  declined  and  lay  vanquished  before  the  revivified  skeleton 
of  Antiquity.  Medieval  art  was  dead,  dead  with  the  age,  with 
the  faith  that  produced  it  —  utterly,  irretrievably,  forever  dead. 
Requiescat  in  'pace. 

FLAMBOYANT    MONUMENTS 

Monuments  of  the  Second   Class 

ROUEN,  Seine-Inferieure.  St.  Maclov.  (111.  278.)  This  church  must  have 
been  begun  during  the  English  occupation,  for  in  1432,  Hugh,  Archbishop  of  Rouen, 
granted  forty  days  of  indulgence  to  those  of  the  faithful  who  should  contribute 
towards  the  expenses  of  the  new  edifice.  An  appeal  was  made  in  1-145,^  to  "the 
very  high  and  powerful  prince,  the  Lord  Duke  of  York,  Lieutenant-General  and 
Governor  of  France  and  Normandy"  to  give  twenty  pounds  sterling  to  complete 
the  works  already  begun.  In  1453  Guillaume  d'Etouteville  granted  further 
indulgences  in  favor  of  those  who  should  aid  in  the  construction  of  the  church. 
In  1471  Pierre  du  Four,  bourgeois  of  Rouen,  made  an  important  gift  that  the 
building  might  be  finished.  However,  the  edifice  must  still  have  been  far  from 
completion  since  on  the  second  of  April,  1500,  twenty  cardinals  granted  a  hun- 
dred days  of  indulgence  to  those  who  should  visit  the  church  and  give  money  for 
its  construction,  while  it  was  only  in  1511  that  Martin  Deperrois  commenced  to 
build  a  platform  over  the  lantern  to  carry  the  spire.^  Thus  St.  Maclou  was  in 
construction  for  nearly  a  century.  Since,  however,  the  original  plans  were  for  the 
most  part  executed  without  material  change,  the  edifice  may  fairly  be  considered 
as  an  homogeneous  example  of  the  architecture  of  the  second  quarter  of  the  XV 
century.  The  monument,  which  forms  approximately  a  Greek  cross  in  plan,  con- 
sists of  a  nave,  two  side  aisles,  a  complete  set  of  lateral  chapels,  transepts,  a  central 

"  This  letter  was  published  in  Archives  de  la  Nomiandie  11,  333. 

^  The  history  of  St.  Maclou  has  been  worked  up  from  the  original  sources  by  Du  Val.  (Vol. 
II,  pp.  154-156.)     The  most  important  texts  are  cited  in  the  original  by  Inkersley,  115. 

389 


FLAMBOYANT   MONUMENTS 

lantern  covered  with  an  open-work  spire,  a  choir,  an  ambulatory,  and  radiating 
chapels.  Before  the  portals  is  a  five-sided  narthex  of  considerable  projection  — 
an  unusual  feature  which  forms  a  most  imposing  entrance.  Internally  the  vaults 
of  the  nave  are  singularly  lofty;  though  the  mouldings  are  prismatic,  the  system 
continuous,  and  capitals  omitted,  there  are  no  disappearing  mouldings  nor  multiple 
rib  vaults.  The  tracery  is  full}'  developed  flamboyant,  but  a  certain  restraint  and 
awkwardness  is  noticeable  in  the  use  of  the  ogee  arch.  The  flying  buttresses  are 
arcaded  and  of  great  lightness.  Originally  a  spire  in  wood  and  lead,  gilded,  sur- 
mounted the  lantern,  but  this  is  known  only  from  the  model  in  the  Archaeological 
Museum,  for  it  was  destroyed  in  the  XVIII  century.  The  existing  stone  fleche 
was  erected  in  the  XIX  century.     (De  Baurepaire;  Frothingham.) 

St.  Vincent.  The  nave,  the  chapel  formerly  known  as  of  St.  Nicholas,  now  as  of 
the  Sacre  Coeur,  and  the  northern  portal  are  said  to  have  been  built  between  1458 
and  1471.  The  transepts  were  in  construction  from  1470  to  1480,  the  southern  por- 
tal having  been  finished  about  1475.  In  1480  the  first  stone  of  the  main  portal  was 
laid.  The  choir  was  begun  in  1515  on  designs  entirely  diff'erent  from,  and  much 
more  ambitious  than,  those  of  the  rest  of  the  edifice;  it  was  terminated  probably  by 
about  1526,  notwithstanding  the  fact  that  the  dedication  did  not  take  place  before 
1531.  Though  flamboyant  in  style,  the  central  tower  dates  from  1669.  The  exist- 
ing edifice  consists  of  a  nave  shorter  than  the  choir,  two  side  aisles,  a  complete  set  of 
lateral  chapels,  transepts,  a  polygonal  chevet,  and  an  ambulatory.  The  flying  but- 
tresses of  the  choir  are  singularly  light  and  fantastic.  Before  the  western  fa9ade  is  a 
fine  narthex  porch.  The  great  glory  of  the  St.  Vincent,  however,  is  its  glass  of  the 
XVI  century.     (Renaud;  De  la  Balle.) 

St.  Laurent.  In  1248  a  fire  which  started  at  the  Portc-Beauvoisine  destroyed  the 
churches  of  St.  Ouen,  St.  Goddard,  and  St.  Laurent.  The  reconstruction  of  St. 
Laurent  was  probably  begun  immediately  afterwards.  In  the  XV  century,  how- 
ever, another  rebuilding  seems  to  have  been  undertaken,  for  works  upon  this  church 
are  mentioned  as  being  in  progress  in  documents  of  1444,  1445,  and  1446.  This 
"new  work,"  however,  was  in  all  probability  merely  the  reconstruction  of  the  side 
aisles  and  clearstory.  Certain  windows  were  placed  in  1464,  but  the  alterations  seem 
to  have  been  completed  only  in  1482.  From  1490  to  1501  '  the  tower  —  a  gem  of 
flamboyant  art  —  was  in  construction.  The  existing  edifice  consists  of  a  nave,  two 
side  aisles,  a  polygonal  chevet,  and  an  ambulatory.     (De  la  Balle.) 

St.  Andre-de-la-Porte-aux-Fehvres.  Only  the  beautiful  tower,  said  to  have  been 
built  in  1541-45,  survives.  It  was  originally  crowned  by  a  spire,  now  destroyed.  (De 
la  Balle.) 

PARIS,  Seine.  St.  Etienne-du-Mont.  (lU.  283.)  The  choir  was  commenced 
in  1517  and  entirely  finished  in  1535;  the  nave  and  the  side  aisles  were  completed 
in  the  last  years  of  the  XA'I  century;  the  date  1600  is  inscribed  upon  the  jube;  the 
fa9ade,  entirely  Renaissance  in  style,  was  built  between  1610  and  1624.  An  unusual 
disposition  is  the  narrow  gallery  running  around  the  nave  and  passing  from  column 
to  column.     Otherwise  the  monument  is  a  t^-pical  three-aisled  church  with  a  com- 

1  Du  Val  II,  124,  cit.  Inkersley,  115. 
390 


MONUMENTS   OF  THE  SECOND   CLASS 

plete  set  of  chapels  and  an  ambulatory.  Except  for  the  pendant  vault  of  the  crossing, 
the  vaults  are  simple;  the  piers,  however,  are  cylindrical,  the  mouldings  disappear, 
there  are  no  capitals.  Much  classic  feeling  is  evident  in  the  nave,  but  in  the  choir 
there  are  but  few  Renaissance  details.     (Arch,  de  la  Com.  des  Mon.  Hist.  I,  88.) 

St.  Eustache  is  said  to  have  been  in  construction  from  1532  to  1642.  The  de- 
tails of  this  large  and  important  monument  are  thoroughly  Renaissance  in  character, 
but  the  structure  is  Gothic.     (Arch,  de  la  Com.  des  Mon.  Hist.  I,  86.) 

St.  Nicolas-des-Champs.  This  monument  originally  erected  in  the  XIV  century 
was  reconstructed  in  1420  and  again  in  1576.  At  the  latter  epoch  the  choir  and  part 
of  the  nave  were  rebuilt  in  the  Renaissance  style.  With  the  exception  of  the  portal, 
restored  in  1843,  the  fa9ade  is  flamboyant.  The  present  side  aisles  originally  were 
chapels,  but  in  the  XV  century  they  were  altered  into  their  present  form,  and  new 
chapels  constructed  beyond.     (Beale.) 

St.  Medard,  one  of  the  most  picturesque  churches  of  Paris,  with  the  exception 
of  the  choir  erected  between  1586  and  1655,  dates  from  the  end  of  the  XV,  or  from 
the  early  XVI,  century,  but  the  interior  was  rebuilt  in  the  classical  style  in  1784.  There 
is  an  ambulatory,  but  there  are  no  transepts.  The  piers  are  without  capitals,  and 
the  keystones  and  bosses  are  elaborately  carved.  The  radiating  chapels  have  Doric 
columns.     (Beale.) 

St.  Men/,  a  vast  edifice  with  transepts  and  ambulatory,  was  commenced  in  1520 
or  a  few  years  later,  but  was  not  finished  before  the  XVII  century.  The  beautiful 
west  facade  is  a  mass  of  rich  flamboyant  decoration,  unfortunately  much  restored. 
Intersecting  mouldings,  open-work  gables,  and  ogee  arches  characterize  the  portal. 
The  upper  part  of  the  tower,  on  the  other  hand,  is  of  the  XVII  century.  With  the 
exception  of  the  rich  pendant  vaults  of  the  nave,  the  entire  interior  was  made  over  in 
the  time  of  Ix)uis  XIV.  Perhaps  the  most  interesting  parts  of  the  edifice  are  the  fiine 
arcaded  flying  buttresses  of  the  chevet.     (Beale.) 

St.  Gervais  et  St.  Protais.  This  church  was  erected  at  the  beginning  of  the  XVI 
century,  but  is  largely  Renaissance  in  style.  It  consists  of  a  nave,  two  side  aisles,  a 
complete  set  of  chapels,  a  chevet,  and  an  ambulatory.  The  fa9ade  is  an  over-praised 
work  of  the  XVII  century. 

St.  J acques-la-Boucherie.  Of  this  church  only  the  gracious  tower  survives. 
This  was  begun  in  1508.  In  1510  the  first  story  had  been  constructed,  and  the 
entire  tower  was  finished  in  1521  or  1522.     (Troche.) 

St.  Laurent,  reconstructed,  it  is  said,  in  1429,  was  enlarged  in  1548,  in  1595,  and 
finally  in  1865-67.  The  portal  and  spire  are  modern.  The  fa9ade,  however,  is  of 
interest. 

CHALONS-SUR-MARNE,  Marne.  Notre  Dame-de-l'Epine  (111.  276)  seems 
to  be  an  archaistic  building  built  in  conscious  imitation  of  Reims.  Work  was  begun 
in  1419  and  continued  with  several  interruptions  until  1459.  Then  ensued  a  long 
interruption,  the  building  being  completed  only  in  the  first  part  of  the  XVI  century. 
These  two  eras  of  construction  may  be  readily  distinguished  in  the  existing  edifice: 
to  the  first  belong  the  choir,  the  transepts,  the  greater  part  of  the  four  eastern  bays  of 
the  nave;  to  the  second,  the  fa9ade,  the  two  western  bays  of  the  nave,  and  portions 

391 


FLAMBOYANT   MONUMENTS 

of  the  eastern  bays.  Notwithstanding  the  comparatively  small  dimensions,  this 
edifice  (which  consists  of  a  nave  six  bays  long,  two  side  aisles,  transepts,  a  choir  of 
three  bays,  a  polygonal  chevet,  and  a  double  ambulatory)  contains  all  the  essential 
parts  of  a  Gothic  cathedral.  Most  noteworthy  is  the  purity  of  the  details  of  the  in- 
terior. The  picturesque  exterior  seems  to  have  been  influenced  by  military  architec- 
ture.    (^^on  Bezold.) 

COUTANCES,  Manche.  St.  Pierre.  (111.  285.)  The  unpublished  records  of 
the  reconstruction  of  this  church  are  said  to  be  preserved  in  the  presbjlery,  among 
the  "Archives  de  la  Fabrique."  The  main  body  of  the  building  was  finished  in  1494 
as  is  known  from  an  inscription  placed  behind  the  choir,  on  one  of  the  columns  of 
the  chapel  of  St.  Louis;  the  date  1550  inscribed  on  one  of  the  towers  seems  to  indi- 
cate the  epoch  at  which  the  edifice  was  entirely  completed.  The  monument  consists 
of  a  single  western  tower,  a  nave,  two  side  aisles,  a  lofty  central  lantern  crowned  by 
a  cupola,  transepts,  a  choir,  a  polygonal  chevet,  and  an  ambulatory.  Disappearing 
mouldings  and  a  triforium  reduced  to  a  balustrade  characterize  the  interior.  (De 
la  Balle:  Benoist.) 

St.  Nicolas.  This  church,  founded  in  the  XIII  century,  was  in  ruins  at  the  end 
of  the  XIV  century.  The  rebuilding  was  begun  in  1409,  and  continued  until 
about  14.'50,  but  the  edifice  Las  obviously  been  many  times  since  altered,  for  the 
existing  structure  is  a  puzzling  mixture  of  the  styles  of  the  XIII,  XIV,  XV,  and 
XVII  centuries.  At  present  the  monument  consists  of  a  central  western  tower,  a 
nave,  two  side  aisles,  two  chapels  forming  a  sort  of  transept,  a  lantern,  a  choir,  a 
chevet,  and  an  ambulatory.  The  piers  of  the  chevet  are  monolithic.  (De  la  Balle; 
Benoist.) 

Eglise  de  VHospice.  The  fine  flamboyant  clocher  of  the  XV  century  still  survives. 
It  seems  to  show  English  influence  in  some  of  its  tracery  and  in  the  ill  adjustment  of 
the  spire  to  the  tower.     (De  la  Balle.) 

CAUDEBEC-EN-CAUX,  Seine-Inferieure.  Notre  Dame.  (111.  273,  275.) 
"This  nave  was  commenced  in  1426.  The  blessing  of  God,  and  good  life,  and  Par- 
adise to  its  benefactors."'  This  inscription,  still  existing  in  the  church,  fixes  the  date 
at  which  the  present  structure  was  begun:  it  is  not  known  when  it  was  finished,  but 
the  facade  and  spire  can  hardly  be  earlier  than  the  XVI  century.  The  church  as  it 
stands  is  one  of  the  purest  and  most  beautiful  of  all  flamboyant  edifices;  it  consists 
of  a  nave,  two  side  aisles,  a  choir,  a  two-sided  chevet  with  pier  on  axis,  and  an  am- 
bulatory. The  mouldings  of  the  archivolts  and  of  the  vault  ribs  disappear;  slight 
capitals,  however,  crown  the  cylindrical  piers.  Corbels  placed  just  above  these 
capitals  support  the  system  of  a  single  shaft.  The  high  triforium  is  not  glazed,  but 
like  the  clearstory  it  is  supplied  with  a  balustrade.  Escutcheons  are  carved  upon 
the  keystones  of  the  simple  vaults.  Fine  flamboyant  tracerj'  fills  the  windows.  The 
fljing  buttresses  have  a  single  strut,  but  are  finely  developed.     The  florid  west  facade 

» "L'  an  Mil  CCCCXX\T 
fu  cette  nef  cy  co'mencie. 
Sante  Dieu  bienz  et  bo'ne  vie 
As  b'nfaicteurs  et  paradis." 

392 


MONUMENTS   OF  THE  THIRD  CLASS 

is  supplied  with  a  Renaissance  balustrade  with  caryatids.  To  the  south  rises  a  tower 
with  a  fine  open-work  spire. 

Ste.  Gertrude.  This  church  of  the  XVI  century  is  characterized  by  a  polygonal 
apse,  transepts  of  small  extent,  and  a  central  tower  surmounted  by  a  slate  spire.  The 
vaults  of  the  choir  have  pendants.     fBenoist.) 

DIEPPE,  Seine-Inferieure.  St.  Jacques.  The  main  body  of  this  edifice,  usu- 
ally considered  the  finest  parish  church  of  Normandy,  belongs  to  the  XIV  century, 
and  consequently  to  the  Gothic  rather  than  to  the  flamboyant  period,  and  the  extrem- 
ities of  the  two  transepts  are  even  believed  to  be  fragments  of  a  church  dedicated  to 
Ste.  Catherine  and  destroyed  in  1195,  for  they  bear  the  marks  of  long  exposure  to 
the  weather.  There  is  some  doubt  as  to  the  date  of  the  tower,  whose  lower  parts 
some  archaeologists  assign  to  the  XV  century,  while  others  assign  the  entire  struc- 
ture to  the  XVI  century.  The  choir  vaults  were  rebuilt  in  the  XVI  century  with  pen- 
dants, and  the  triforium  and  clearstory  were  altered  at  the  same  time.  This  choir, 
which  is  supplied  with  a  polygonal  chevet  and  an  ambulatory,  comprises  three  bays, 
being  thus  just  half  as  long  as  the  nave.  With  the  exception  of  the  southwestern 
tower  which  projects  somewhat  beyond  the  line  of  chapels  that  border  the  nave,  the 
facade  and  the  two  turrets  that  flank  its  gable  date  from  the  XIV  century.  The  piers 
of  the  choir  are  surrounded  by  a  number  of  colonnettes  one  of  which  bears  the  three 
shafts  of  the  system.  The  triforium  is  supplied  with  balustrades  in  the  Norman 
manner.     (De  la  Balle;  Benoist  I,  60.) 

St.  Remi.     The  nave  is  of  the  XVI  century. 

Ancienne  Eglise  St.  Remi.  The  foundations  of  this  edifice  of  the  XIII  and  XTV'^ 
centuries  have  lately  been  excavated.     The  tower  still  stands. 

Monuments  of  the  Third  Class 

ABBEVILLE,  Somme.  St.  Vulfran.  (El.  281.)  The  construction  of  this 
edifice  was  begun  in  1480,  but  was  interrupted  in  1539,  the  building  being  completed 
only  in  the  XVII  century.  The  fafade,  flanked  by  two  fine  towers,  is  the  most  re- 
markable portion  of  the  existing  structure,  and  is  extremely  rich  and  picturesque, 
although  a  slight  tendency  towards  florid  ornament  is  apparent.  The  walls  of  the 
nave,  sustained  by  ogee  flying  buttresses,  are  supplied  with  two  exterior  galleries 
both  with  open-work  balustrades.  One  of  these  galleries  is  placed  over  the  vaults 
of  the  chapels,  the  other  just  below  the  cornice  which  is  crowned  by  an  open-work 
parapet.  Open-work  gables  surmount  the  windows  of  the  chapels.  The  interior 
consists  of  a  narrow  nave  of  five  bays,  two  side  aisles,  six  lateral  chapels,  and  an 
unfinished  choir  of  decadent  style.  All  the  keystones  of  the  multiple  rib  vaults  of 
the  nave  are  adorned  with  sculptures  and  escutcheons;  capitals  are  omitted:  the 
ribs  disappear.  Beneath  the  clearstory  is  a  triforium  with  open-work  balustrade. 
(Nodier  et  Taylor,  Picardie  I.) 

CARENTON,  Manche.  Eglise.  Of  the  building  of  the  XI  century  there  re- 
main only  the  four  great  piers  of  the  crossing  and  the  arches  which  support  the  tower. 
In  the  second  half  of  the  XII  century  the  existing  western  portal  was  constructed. 
The  date  1443,  inscribed  upon  one  of  the  piers  of  the  nave,  doubtless  indicates  that  a 

393 


FLAMBOYANT    MOXUIMEXTS 

reconstruction  of  the  church  was»-begun  at  this  time.  To  this  reconstruction  may 
be  attributed  all  the  existing  southern  side  aisle  and  a  part  of  the  nave.  Some  vears 
later  (1466)  the  rebuilding  of  the  choir  was  commenced,  as  is  known  from  an  inscrip- 
tion on  the  keystone  of  the  vault.'  Carenton  is  a  monument  of  great  beautv  and 
originality;  the  exterior  with  its  fine  fl}"ing  buttresses  and  its  rich  and  elegant  tower 
is  an  exceptionally  interesting  composition.  The  plan  includes  five  aisles,  and  a 
chevet  with  ambulatory.     (De  la  Balle;  Benoist  V,  30.) 

DREUX.  Eure-et-Loire.  St.  Pierre  is  remarkable  principally  for  its  flambov- 
ant  portal,  richly  adorned  with  sculptured  detail.  The  remainder  of  the  fa9ade  is 
for  the  most  part  Renaissance  in  st_vle.  An  inscription  surrounded  by  a  gilded  ara- 
besque gives  the  precise  date:  "To  decorate  this  temple  of  God  and  supply  it  with 
a  magnificent  entrance,  in  the  year  1524  was  constructed  this  beautiful  portal,  and 
these  two  towers  where  the  bells  are  rung  to  warn  every  good  Catholic  to  serve  God 
and  fight  the  enemy."  *  The  lateral  porch  with  its  pointed  arches  and  arcades  dates 
from  the  XII  century;  the  nave  seems  to  be  of  the  first  half  of  the  XV  century, 
with  the  exception  of  its  two  westernmost  bays,  which  are  of  the  XYI  centurj-;  the 
southern  transept  is  also  of  the  XVI  century:  in  the  choir  and  the  northern  transept 
are  preserved  fragments  of  the  architecture  of  the  XII  century;  the  nave  chapels 
and  the  ambulatory  are  of  the  XV  century.  'ITie  edifice,  which  is  vaulted  through- 
out, consists  of  a  nave  six  bays  long,  two  side  aisles,  a  choir,  a  double  ambulatorj-, 
and  six  radiating  chapels.  There  are  fine  flying  buttresses,  and  much  superb 
glass.     (Paty.) 

CONCHES,  Eure.  Ste.  Foi.  No  portion  of  the  present  edifice  is  earlier  than 
the  end  of  the  XV  century.  Nicolas  Sevavasseur  (1509-25)  probably  constructed 
the  choir  —  at  least,  it  is  certain  that  he  was  the  donor  of  the  magnificent  windows 
of  this  part  of  the  church,  for  his  portrait  is  to  be  seen  in  the  lower  part  of  the  central 
light,  and  the  date,  1520,  discovered  with  the  name  of  the  artist  on  the  fringe  of  a 
figure  of  St.  Louis  would  seem  to  confirm  this  supposition.  In  1842  the  spire  of  wood 
and  lead,  one  of  the  most  charming  of  flamboyant  open-work  designs,  collapsed;  it 
has  been  rebuilt,  however,  on  the  old  lines.  The  edifice  consists  of  a  nave,  two  side 
aisles,  and  a  seven-sided  apse.  The  nave,  which  has  never  been  finished,  is  covered 
with  a  wooden  roof;  the  choir  has  multiple  rib  vaults  reinforced  by  ogee  flj'ing  but- 
tresses. Flamboyant  tracery,  like  all  the  details  of  exquisite  delicacy,  fills  the 
windows.  Many  of  the  piers  of  the  nave  are  diamond-shaped  in  plan.  It  was  the 
original  plan  to  flank  the  facade  by  two  towers;  but  of   these  the  northern,  Renais- 

>  Mil  CCCC 

LX  et  six 

Ces  fondemes 

Furent  assis. 
^  Pour  decorer  ce  temple  deifique 

luy  fu  costruict  pour  entree  magnificq 

ce  beau  portail  mil  cinq  ces  vingt  et  quatre 

et  ces  deux  tour  ou  sonner  on  scapticq 

f>our  innocquer  chacun  bon  catholicq 

a  dieu  servir  et  lennemy  combatre. 
394 


MONUMENTS   OF  THE  THIRD   CLASS 

sance  in  style,  has  never  been  finished.  The  chief  glory  of  this  church  is  its 
twenty-three  superb  stained  glass  windows  of  the  XVI  century.     (Bouillet.) 

APPEVILLE-ANNEBAUT,  Eure.  Eglise.  An  inscription  that  may  still  be 
read  on  the  wall  of  the  south  side  aisle  states  that  "In  the  year  of  Grace  1518  on  the 
5th  of  July,  this  church  was  commenced  anew."  ^  The  choir  is  roofed  in  wood,  but 
its  side  aisles  —  there  is  no  ambulatory  —  have  pendant  vaults ;  externally  this  choir 
is  decorated  with  gargoyles,  one  of  which  is  obscene.  The  northern  wall  of  the  nave 
is  said  to  be  of  the  XIII  century.  All  the  rest  of  the  nave  and  the  tower  are  flamboy- 
ant, although  containing  Renaissance  details;  the  principal  portal  with  its  flattened 
and  ogee  arches  is  a  marvelous  piece  of  lace-work.  Internally  the  edifice,  which  is 
without  clearstory,  is  coated  with  plaster.     (De  la  Balle;  Benoist.) 

ARQUES,  Seine-Inferieure.  Notre  Dame.  The  existing  edifice  replaces  an 
earlier  church  burned  in  1-172,  though  there  seems  to  be  some  doubt  as  to  whether 
the  construction  was  begun  immediately  or  in  1515.^  The  present  structure  consists 
of  a  nave,  double  side  aisles,  transepts,  and  a  polygonal  apse  without  ambulatory. 
There  is  a  single  northwestern  tower.  The  nave  has  a  wooden  roof;  the  choir  vaults 
are  adorned  with  pendants.  The  date  1610  is  inscribed  on  a  cartouche  of  the  tri- 
umphal arch.     (De  la  Balle.) 

BAR-SUR-SEINE,  Aube.  Eglise,  one  of  the  most  important  flamboyaait  edi- 
fices of  the  departement,  contains  Ionic  capitals  and  other  Renaissance  features, 
which,  however,  seem  to  be  the  result  of  a  later  restoration.  The  choir,  which  is 
only  two  bays  long,  is  supplied  with  an  ambulatory,  radiating  chapels,  flying  but- 
tresses, and  Renaissance  tracery.  These  eastern  portions  are  evidently  earlier  than 
the  nave,  for  one  of  the  choir  windows  bears  the  date  1512,  while  the  nave  windows 
bear  the  dates  1528,  1539.     (Arnaud,  100.) 

ARGENT  AN,  Orne.  St.  Germain.  A  naive  inscription  upon  one  of  the  piers 
states  that  "this  pier  was  constructed  in  1488  by  Jean  Lemoine,  good  mason."  ^ 
The  building,  however,  seems  to  have  been  commenced  long  before  (1410)  by  Jean 
IV,  duke  of  Alen9on,  but  the  English  wars  doubtless  interrupted  the  work.  After 
the  expulsion  of  the  English  the  construction  was  resumed  at  the  order  of  Duke 
Rene,  and  the  choir  and  side  aisles  were  erected.  Soon  after  the  pier  with  the  in- 
scription was  finished,  another  delay  in  the  construction  ensued.  In  1540  the  tower 
was  commenced,  but  the  governor  opposed  its  construction  for  fear  it  should  domi- 
nate the  donjon,  and  it  was  finished  only  in  1641.     The  choir  meanwhile  had  been 

1  Fust  ceste  eglise  comencee  neufve  I'an 
de  Grace  mil  V^"^  dix  huit  V^    de  Jmllet. 

'  On  this  question  see  Cochet,  col.  57,  Vitet  II,  366,  and  Adolphe  Lance  I,  55. 

^  The  inscription  in  toto,  is  as  follows : 

Mil  quatre  cent  quatre  vingt  huit  Auxquels  sa  femme  avait  part. 

Par  Jean  Lemoine  bon  mafon  Du  Paradis  benoist  guerdonnez 

Ce  piiier  icy  construit.  Par  Jean  Pitard  a  fondez 

Dieu  pardonne  la  mal  fa^on!  Grandes  messes  de  la  Passion 

Et  le  fist  faire  a  Guy  Pitard  Qui  de  cinq  playes  a  ete  fondez. 

Des  biens  que  Dieu  luy  a  donnez  Dieu  luy  fasse  remission. 

395 


FLAMBOYANT   MONUMENTS 

rebuilt  in  the  Eenaissance  stylev  having  been  completed  in  1609.  The  existing  edi- 
fice is  characterized  b_v  a  southwestern  tower,  a  central  lantern,  polygonal  transepts, 
multiple  rib  vaults,  the  absence  of  capitals,  disappearing  ribs,  and  a  balustrade  tri- 
forium.     (De  la  Balle;  Benoist  IV,  17.) 

St.  Martin.  The  glass  windows  were  executed  between  1540  and  looO,  so  that 
in  the  main  the  edifice  must  have  been  completed  by  the  middle  of  the  XVI  century, 
though  the  choir  vaults  date  only  from  1603.  Externally,  the  structure  is  character- 
ized by  flying  buttresses  of  ogee  form  and  tracery  tending  to  become  Renaissance; 
internally  by  a  slightly  developed  pendant  vault,  a  system  of  a  single  shaft,  the  ab- 
sence of  capitals  (except  at  the  summits  of  the  shafts),  and  disappearing  mouldings. 
(De  la  Balle;  Benoist  IV,  18.) 

ALEN^ON,  Orne.  Notre  Dame.  (111.  279,  2S4.)  This  church  seems  to  date 
from  the  late  XV  century,  with  the  exception  of  the  transept  and  choir  of  the  XVIII 
century.  The  portal,  of  which  the  plan  comprises  three  sides  of  a  polygon,  is  supplied 
with  open-work  gables  and  intersecting  mouldings  of  very  beautiful  design.  In- 
ternally there  are  a  few  capitals,  although  the  mouldings  disappear  and  the  system 
is  continuous.  The  vault  is  thoroughly  English  in  character;  the  continuous  trifo- 
rium  has  a  graceful  balustrade.     (De  la  Balle;  Benoist  IV,  8.) 

VERNON,  Eure.  Notre  Dame  was  founded  by  William  II  of  Vernon  (t  1160) 
according  to  his  epitaph  still  preserved  in  the  church.  The  existing  choir  was  prob- 
ably erected  soon  after  this,  but  in  1380,  Antabour,  master  builder,  reconstructed 
the  vaults.  The  present  central  tower  dates  from  the  XIII  century,  the  nave  for  the 
most  part  from  the  XV  century.  Flamboyant  tracery  with  intersecting  mouldings 
fills  the  triforium,  which,  however,  is  not  glazed.  The  Porche  St.  Sauveur  as  well  as 
the  principal  portal  of  the  west  fa9ade  are  fine  examples  of  flamboyant  design,  and  are 
supplied  with  flattened  and  ogee  arches.     (De  la  Balle;  Benoist.) 

LA-FERTE-BERNARD,  Sarthe.  Notre  Dame.  The  nave  of  this  impor- 
tant monument  is  an  example  of  the  pure  flamboyant  style,  but  the  choir  contains 
many  Renaissance  details.  According  to  inscriptions  the  building  was  in  construc- 
tion from  1450  to  1596.  The  edifice  consists  of  a  nave,  two  side  aisles,  transepts, 
a  choir,  an  ambulatory,  and  a  north  lateral  tower.  The  choir  is  more  lofty  than 
the  nave,  and  its  vaults  are  sustained  by  arcaded  buttresses.     (Wismes.) 

ORLEANS,  Loiret.  Eglise  Cathedrale  .Ste.  Croix.  The  foundations  for  a  new 
edifice  had  probably  already  been  built  when  the  bishop  celebrated  the  laying  of  the 
first  stone  in  1287.  The  choir  and  chevet  were  the  first  portions  erected.  By  1297 
the  choir  and  parts  of  the  transepts  and  nave  had  been  finished.  At  this  point,  how- 
ever, the  construction  was  interrupted  until  1479,  when  several  windows  of  the  outer 
wall  were  erected:  then  the  work  was  dropped  again.  In  1562  the  church  was  pil- 
laged by  the  Protestants,  the  piers  of  the  crossing  were  sapped,  and  the  edifice  set  on 
fire.  The  building  was  completely  destroyed  with  the  exception  of  the  old  Roman- 
esque towers,  the  chapels  of  the  ambulatory,  the  northern  portal,  and  six  piers  of 
the  choir.  A  reconstruction  was  begun  at  once  and  the  choir  was  finished  before 
1583.  However,  these  repairs  seem  to  have  been  only  partially  successful,  for  the 
whole  structure  was  essentially  modified   in   the  time  of  Henry  IV.     From  then  on 

396 


OTHER  MONUMENTS 

until  1826  the  building  progressed  slowly,  but  always  in  a  pseudo-Gothic  style. 
(Buzonnieres.) 

Notre  DaTne-du-Chemin.  Founded,  it  is  said,  by  Aigus  in  854,  this  church  was 
torn  down  in  1428  when  it  was  found  necessary  to  clear  space  for  the  fortifications, 
but  was  rebuilt  between  143S  and  1511.  In  1562  the  church  was  pillaged  by  the 
Protestants,  and  so  severely  damaged  that  the  necessary  repairs  were  finished  only 
in  1617.  As  the  building  stands  the  apse  is  polygonal.  The  nave  supplied  with 
octagonal  piers  is  flanked  on  the  south  side  by  a  side  aisle,  on  the  north  by  a  series 
of  low  chapels.     (Molandon.) 

SOISSONS,  Aisne.  St.  Jcan-des-Vignes.  This  abbey  church,  of  which  the 
fa9ade  and  the  cloisters  still  survive,  was  commenced  in  the  XlII  century.  In  the 
XIV  and  XV  centuries  the  nave  was  constructed,  and  the  western  spires  were  com- 
pleted in  the  early  years  of  the  XVI  century,  the  cross  being  planted  on  the  northern 
in  1520.  Ruined  as  it  is,  the  existing  fa9ade  is  a  composition  of  the  greatest  interest. 
(Lambin,  90.) 

FALAISE,  Calvados.  Ste.  Trinite  consists  of  a  nave,  two  side  aisles,  transepts, 
a  choir,  an  ambulatory,  and  radiating  chapels.  The  nave  was  commenced  in  1438; 
the  choir,  as  is  known  from  an  inscription  placed  at  the  entrance  of  the  north  ambu- 
latory, was  begun  in  1510;  the  transepts  seem  to  be  fragments  of  an  earlier  church 
of  the  XIII  century;  the  date  1539  is  inscribed  on  one  of  the  graceful  Renaissance 
flying  buttresses.  The  monocylindrical  piers  have  been  modernized,  but  they  still 
retain  their  foliated  capitals.  A  wooden  vault  covers  the  edifice.  The  windows 
have  no  tracery;  the  triforium  is  not  glazed.  The  system  reaches  only  to  the  tri- 
forium  string.     (De  la  Balle;  Benoist  III,  78.) 

CLfiRY,  Loiret.  Notre  Dame.  With  the  exception  of  the  tower  of  the  XIV 
century,  this  collegiate  church  was  completely  destroyed  by  the  English  in  1428,  and 
was  rebuilt  by  Louis  XI  in  the  last  half  of  the  XV  century.  It  consists  of  a  nave  seven 
bays  long,  two  side  aisles,  non-projecting  transepts,  a  choir,  an  ambulatory,  and  a 
modern  lady  chapel.  The  tower  rises  over  the  northern  side  aisle.  Internally,  the 
great  arcades  fall  upon  richly  moulded  cylindrical  piers  whose  members  are  con- 
tinued to  form  the  system  and  the  ribs.  (Arch,  de  la  Com.  des  Mon.  Hist.  II, 
60.) 

Otheh  Monuments 

BERNAY,  Eure.  Ste.  Croix.  When  this  church  was  burned  in  1358,  the 
monks  refused  to  rebuild  it  at  their  own  expense.  In  1372,  however,  they  made  an 
agreement  with  the  townspeople  to  erect  a  new  edifice  on  the  present  site.  The  choir, 
with  the  exception  of  its  side  aisles  which  were  not  completed  before  1880,  was  fin- 
ished in  the  last  years  of  the  XIV  century;  during  the  last  quarter  of  the  XIV  century, 
or  at  latest  in  the  opening  years  of  the  XV  century,  the  lower  part  of  the  northern 
transept  and  the  wall  of  the  northern  side  aisle  were  in  construction.  The  nave  was 
built  during  the  first  half  of  the  XV  century.  After  1497  the  western  tower,  the  south- 
ern side  aisle,  and  the  south  arch  of  the  transept  were  erected.  In  1687  the  tower 
fell,  destroying  part  of  the  nave.     The  interior  of  the  existing  edifice  is  characterized 

397 


FLAMBOYANT   MONUMENTS 

by  monocylindrical  piers  with  capitals  and  bases,  disappearing  mouldings,  and  natural- 
istic foliage.      (De  la  Balle.) 

Notre  Dame-de-la-C outure.  (111.  270.)  A  mural  inscription  states  that  the  win- 
dows and  the  interior  ornamentations  of  the  lady  chapel  were  finished  in  the  year 
1600.  One  of  the  windows  of  the  aisles,  however,  bears  the  date  1480.  The 
construction  must  therefore  have  been  begun  about  the  middle  of  the  XV  century, 
and  the  edifice  was  probably  essentially  finished  when  the  ambulatory  (which  may 
be  assigned  to  about  a  century  later)  was  completed.  The  existing  building  con- 
sists of"  a  nave,  two  side  aisles,  transepts,  and  a  chevet.  Since  the  vault  is  in 
wood,  there  are  of  course  no  flying  buttresses.  The  main  portal  with  its  flattened 
and  ogee  arches  and  its  fine  flamboyant  tracery  is  of  great  interest.  Internally 
the  church  is  characterized  by  small  windows,  by  the  absence  of  a  system,  by 
monocylindrical  piers,  by  unfoliated  capitals  with  horizontal  mouldings,  and  by  fine 
glass.     (De  la  Balle.) 

NONANCOURT,  Eure.  St.  Martin,  which  was  almost  entirely  reconstructed 
in  the  flamboyant  style  in  1511,  consists  of  a  nave,  two  side  aisles,  a  great  chapel 
forming  a  sort  of  southern  transept,  a  polygonal  choir,  and  an  ambulatory.  The 
multiple  rib  vault  is  of  the  English  Heme  type;  the  keystones  are  decorated  with 
escutcheons,  but  except  in  the  triumphal  arch  the  pendants  are  slightly  developed. 
The  triforium  is  omitted.  Capitals  occur  in  the  main  arcade  only;  —  they  are  un- 
•carved  and  intersect  part  of  the  system.  Certain  of  the  disappearing  mouldings 
tend  to  become  undulating.  The  church  contains  good  glass.  A  lady  chapel,  added 
south  of  the  choir  about  the  middle  of  the  XVI  century,  contains  round-headed  win- 
dows and  a  wooden  vault.  The  tower  is  of  the  XIII  century,  but  the  spire  dates 
from  the  time  of  Henry  IV.     (De  la  Balle.) 

HARFLEUR,  Seine-Inferieure.  St.  Martin.  Excavations  executed  in  1861 
•disclosed  beneath  the  present  building  substructions  of  the  XI  century.  Some  frag- 
ments of  the  existing  edifice  are  of  the  XIII  century,  the  fine  window  of  the  west 
facade  is  of  the  XIV  century.  The  remainder  of  the  building  dates  from  the  end  of 
the  XV  century,  though  not  altogether  in  its  original  form,  two  of  the  former  five 
•aisles  having  been  suppressed.  The  tower  and  spire  are  usually  considered  among 
the  most  elegant  and  majestic  of  Normandy.  Certain  details  of  the  lateral  portal 
and  its  elegant  porch  show  the  influence  of  English  Perpendicular  work.  (De  la 
Balle.) 

AMIENS,  Somme.  St.  Remi.  This  Franciscan  abbey  has  been  much  dam- 
aged, the  polygonal  choir  of  the  XV  century  having  recently  been  torn  down.  There 
remain  a  nave  and  a  single  side  aisle,  both  said  to  date  principally  from  the  XIV  cen- 
tury.    (Guyencourt.) 

St.  Germain.  (111.  282.)  This  church,  constructed  about  the  middle  of  the  XV 
century,  is  vaulted  throughout;  it  is  remarkable  for  its  singularly  pure  details  and 
for  its  fine  stained  glass.     There  is  a  single  northwestern  tower. 

St.  Leu  contains  architectural  fragments  of  several  difi^erent  epochs.  The  build- 
ing was  enlarged  in  1481 ;  a  century  later  the  w-estern  tower  was  rebuilt  in  the  Gothic 
style. 

398 


OTHER   MONUMENTS 

PONT-DE-L'ARCHE,  Eure.  St.  Vigor.  The  southern  side  of  this  church 
is  a  rich  example  of  the  lace-work  architecture  of  the  XV  century.  Unfortunately 
the  construction  was  interrupted  in  the  XVI  century,  and  the  ambulatory  has  never 
been  finished.  The  principal  portal  is  exquisite;  it  is  ornamented  with  open-work, 
intersecting  mouldings,  ogee  and  flattened  arches.  The  church  contains  famous  glass. 
(De  la  Balle.) 

BOURGES,  Cher.  Notre  Dame.  This  edifice,  built  in  1157,  burnt  in  1487, 
and  reconstructed  about  1520,  still  contains  fragments  of  XII  century  architecture. 
Three  aisles  are  covered  with  a  roof  of  continuous  slope  —  there  is  no  clearstory  — 
and  are  divided  into  five  bays.  To  the  eastward  the  building  terminates  in  a  three- 
sided  apse  without  ambulatory.  The  nave  vaults  seem  to  have  been  raised  shortly 
after  1487.     The  northern  side  aisle  contains  some  early  glass.     (De  Kersers  II,  200.) 

St.  Bonnet.  Of  the  primitive  church  of  the  XV  century  there  survive  only  two 
chapels,  the  remainder  of  the  present  edifice  having  been  rebuilt  in  1509.  Neither 
the  vaults  nor  the  flying  buttresses  have  ever  been  executed.  The  existing  struc- 
ture, irregular  in  plan,  consists  of  a  nave,  two  side  aisles,  and  an  ambulatory;  it  is 
characterized  by  disappearing  mouldings  and  cylindrical  piers.  (De  Kersers  II, 
187.) 

Couvent  des  AuguMins.  The  only  remains  of  this  desecrated  edifice  are  the 
lower  portions  of  the  nave  walls  and  the  three-sided  apse.  The  building  was 
doubtless  erected  after  the  fire  of  1487.     (De  Kersers  II,  236.) 

Convent  des  Cannes.  This  edifice,  destroyed  by  the  fire  of  1487,  was  recon- 
structed by  Louis  de  Put  and  his  wife.  It  is  a  simple  rectangular  structure,  roofed 
in  wood.     (De  Kersers  II,  238.) 

Couvent  de  Ste.  Jeanne  was  founded  about  1500.  The  existing  chapel,  which 
appears  to  be  of  about  this  time,  is  a  wooden-roofed  structure  ending  in  a  three-sided 
apse.     (De  Kersers  II,  247.) 

Chapelle  St.  Jean-Baptiste.  This  flamboyant  chapel,  which  is  to-day  used  as  a 
dwelling,  is  roofed  in  wood  and  terminates  in  a  semicircular  apse.  (De  Kersers  II, 
260.) 

St.  Aoustrillet.  Jacques  Coeur  reconstructed  the  choir  of  this  edifice  in  the  first 
half  of  the  XV  century.  The  existing  remains  were  doubtless  erected  in  the  course 
of  this  reconstruction.     The  nave  has  been  destroyed.     (De  Kersers  II,  208.) 

St.  Medard.  The  southern  wall  of  the  nave  and  the  northern  arm  of  the  tran- 
sept are  the  only  surviving  portions  of  this  edifice;  neither  seems  earlier  than  the 
XV  century.     (De  Kersers  II,  215.) 

St.  Aoiistrille-du-Chateau.     The  walls  of  the  southern  transept  and  a  little  sac-' 
risty  of  the  end  of  the  XV  century  survive.     (De  Kersers  II,  206.) 

Prieure  St.  Michel.  Of  this  structure,  rebuilt  in  1490,  the  wall  and  the  wooden 
vault  still  exist.     (De  Kersers  II,  263.) 

Ste.  Croix.  The  church  rebuilt  after  the  fire  of  1487  still  survives,  but  is  of 
slight  interest.     (De  Kersers  II,  209.) 

CHERBOURG,  Manche.  La  Trinite.  The  choir  of  this  church  was  com- 
menced in  1412,  but  the  construction  was  interrupted  from  1418-23  by  the  disorders 

399 


FLAMBOYANT   MONUMENTS 

which  accompanied  the  siege  of  the  city.  The  central  tower  and  the  transepts  were 
erected  between  1450  and  1466;  the  nave  about  1500.  A  consecration  took  place 
ill  1504,  but  the  principal  portal  and  tower  were  executed  only  in  1825.  The  edifice 
consists  of  a  nave,  two  side  aisles,  transepts,  a  choir,  an  ambulatory,  and  twelve  radi- 
ating chapels.  The  side  ])ortal,  which  contains  flattened  and  ogee  arches,  is  more 
remarkable  for  the  detail  than  for  the  general  composition.  The  interior  is  character- 
ized by  cylindrical  piers  with  a  moulding  or  so  doing  service  for  capitals,  by  disap- 
pearing ribs,  and  by  a  triforium  balustrade,  and  by  slightly  developed  pendants.  (De 
la  Balle:  Benoist  V,  66.) 

FONTAINE-SUR-SOMME,  Somme.  Eglise.  Above  the  fine  lateral  portal 
in  a  sort  of  tympanum  are  sculptured  two  medallions  in  which  are  carved  a  sala- 
mander and  a  porcupine,  emblems  of  Francis  I  (1515-47)  and  Louis  XII  (1498-1515) 
respectively.  This  portion  of  the  church  must  therefore  date  from  the  first  half  of 
the  XVI  century.  Furthermore  the  date  1561  is  inscribed  on  one  of  the  pendants  of 
the  Lady  Chapel  —  evidently  the  latest  part  of  the  edifice.  The  round  arch  is  con- 
spicuous in  the  window  tracery,  otherwise  the  detail  is  entirely  flamboyant.  Only 
half  of  the  nave  vaults  have  been  executed  in  stone;  the  remainder  in  plaster  date 
from  1770.  The  rectangular  choir  was  not  connected  with  the  Lady  Chapel  before 
1770;  it  is  covered  with  pendant  vaults,  and  contains  fine  glass  of  the  XVI  century. 
There  is  no  clearstory.  The  western  tower  is  balustraded  and  surmounted  by  an 
open-work  spire  in  the  English  manner.     (Le  Sueur.) 

BERULLES,  Aube.  EglUe.  The  choir  and  its  chapels,  said  to  have  been  built 
between  1510  and  1515,  are  the  most  ancient  parts  of  the  existing  edifice,  but  the 
tower  and  the  portal  were  erected  soon  after.  The  triumphal  arch  was  built  in  1545 
and  the  nave  in  1550.  This  cruciform  church,  whose  style  borders  on  the  Renais- 
sance, is  vaulted  throughout.     (Fichot  I,  284.) 

LISIEUX,  Calvados.  St.  Jacques  is  a  charming  and  homogeneous  example 
of  the  architectural  art  of  the  early  XVI  century.  The  first  stone  was  laid  in  1496; 
five  years  later  the  nave  was  completed.  With  the  exception  of  the  central  western 
tower  which  stands  to  this  day  unfinished,  the  entire  edifice  was  completed  at  the  time 
of  the  dedication  in  1540.  The  monument  consists  of  a  noble  nave,  two  side  aisles, 
a  complete  set  of  lateral  chapels,  a  choir,  and  a  polygonal  apse  with  two  stories  of 
windows.  The  triforium  is  not  glazed;  capitals  are  omitted;  disappearing  mould- 
ings occur.  The  windows  are  filled  with  fine  flamboyant  tracery  and  XVI  century 
glass.     (De  la  Balle.) 

ST.-ANDRfi-LEZ-TROYES,  Aube.  Eglise  consists  of  a  nave  of  six  bays, 
two  side  aisles,  and  a  three-sided  apse.  The  nave  was  reconstructed  in  the  early  years 
of  the  XVI  century;  the  choir  was  dedicated  in  1547.  There  is  no  clearstory;  the 
side  aisles  are  covered  with  a  series  of  gable  roofs  at  right  angles  to  the  main  axis. 
The  church  is  vaulted  throughout;  the  windows  are  large  and  filled  with  tracery. 
The  principal  portal  is  of  the  Renaissance,  but  the  lateral  portal  is  an  exquisite  bit 
of  flamboyant  lace-work.  Cylindrical  piers  and  disappearing  mouldings  character- 
ize the  interior.     (Fichot  I,  221.) 

AUMALE,  Seine-Inferieure.     St.  Pierre.    This  edifice,  begun  in  1508,  but  fin- 

400 


OTHER  MONUMENTS 

ished  only  in  the  XVII  century,  consists  of  a  western  narthex  tower,  a  nave,  two  side 
aisles,  transepts,  a  choir,  and  a  three-sided  apse.  The  vaults  have  pendants.  This 
church  is  a  fine  example  of  the  late  flamboyant  style.     (De  la  Balle.) 

PONT-AUDEMER,  Eure.  St.  Ouen.  The  choir  and  portions  of  the  arcades 
and  central  tower  of  the  old  Norman  chapel  of  the  XI  century  still  survive.  This 
Norman  church  possessed  a  semicircular  apse  and  two  absidioles,  but  the  east  end  was 
made  over  into  its  present  form  in  the  XVI  century.  The  reconstruction  of  the  nave 
was  in  progress  in  1488,^  but  seems  to  have  been  abandoned  about  1524,  and  never 
resumed.  The  portions  erected  at  this  epoch  show  a  remarkable  amount  of  Renais- 
sance feeling.  Capitals  are  omitted,  but  there  are  no  undulating  or  disappearing 
mouldings;  the  triforium  is  provided  with  a  balustrade;  the  spandrels  are  decorated 
with  diaperings;  the  clearstory  has  never  been  erected;  and  the  nave  is  covered  with 
a  temporary  wooden  roof.  The  side  aisles  have  pendant  vaults  with  multiple  ribs, 
and  the  windows  contain  some  of  the  finest  XVI  century  glass  in  Normandy.  The 
fa9ade  and  its  flanking  towers  are  unfinished.     (De  la  Balle;  Benoist  II,  56.) 

Chapelle  de  I'Hotel-Dieu. 

RUMILLY-LES-VAUDES,  Aube.  Eglise,  consisting  of  a  nave  three  bays 
long,  two  side  aisles,  a  complete  set  of  lateral  chapels,  transepts,  and  a  choir  of  two 
bays,  is  characterized  by  low  pendant  vaults,  fine  flamboyant  tracery,  monocylin- 
drical  piers,  and  the  absence  of  capitals.  It  is  a  homogeneous  edifice  of  the  flamboy- 
ant period.     (Arnaud,  88.) 

STE.  SAVINNE,  Aube.  Eglise.  This  edifice,  which  was  erected  at  the  begin- 
ning of  the  XVI  century,  with  the  exception  of  the  portal  of  1611,  consists  of  a  nave, 
two  side  aisles,  a  complete  set  of  lateral  chapels,  and  a  polygonal  apse.  It  is  vaulted 
throughout  with  simple  rib  vaults,  whose  ribs  disappear  in  the  cylindrical  piers.  There 
is  no  clearstory,  and  the  gables  of  the  aisle  roofs  are  at  right  angles  to  the  main  axis. 
The  church  contains  some  fine  glass  of  the  epoch.     (Fichot  I,  173.) 

RICEY-HAUT,  Aube.  Eglise  consists  of  two  distinct  churches,  the  nave  of 
the  second  being  merely  a  prolongation  of  the  north  transept  of  the  first.  The  nave 
of  the  first,  only  two  bays  long,  is  covered  with  a  wooden  roof  replacing  the  original 
vaults,  but  the  transepts  are  vaulted  in  stone.  The  choir,  which  is  only  a  single  bay 
long,  ends  in  a  five-sided  apse,  and  is  surmounted  by  a  central  tower.  This  church 
is  obviously  older  than  the  second,  which  was  constructed  in  1549  according  to  an 
inscription  engraved  on  one  of  the  piers.  The  second  church  comprised  three  aisles, 
lighted  by  five  round-arched  windows,  and  covered  with  pendant  vaults.  (Arnaud, 
215.) 

BELI/EVILLE,  Cher.  Egline,  of  the  end  of  the  XV  century,  consists  of  a  single- 
aisled  nave  four  bays  long  and  a  polygonal  apse.  It  is  rib-vaulted  throughout,  and 
supplied  with  a  continuous  system.     (De  Kersers  V,  3.) 

MORTAGNE,  Orne.  Eglise  is  one  of  the  most  beautiful  flamboyant  edifices 
of  the  departement  and  is  especially  noteworthy  for  the  rare  delicacy  of  its  ruined 
lateral  portal.  The  tower  begun  in  1542  was  finished  only  a  century  later,  but  the 
Temainder  of  the  church  is  said  to  have  been  erected  between  1494  and  1535.     The 

'  Inventaire  manuscrit  des  Archives  de  I'Hotel-de-ViUe,  Annee  1488. 

401 


FLAMBOYANT   MONUIVIENTS 

piers  are  without  capitals,  the  vaults  have  multiple  ribs,  disappearing  mouldings 
occur.  Although  there  are  three  aisles,  the  nave  contains  no  clearstory.  (De  la 
Balle;  Benoist  IV,  40.) 

ALMENECHES,  Orne.  Eglise.  Thanks  to  the  liberalities  of  Marguerite  of 
Navarre,  the  reconstruction  of  the  nave  was  begun  in  1534,  as  is  indicated  by  an 
inscription  over  the  doorway:  E  hoc  templum  a  ruina  ex  vetiistate  sithsecuta  1534. 
Another  inscription  indicates  that  this  portion  of  the  edifice  was  finished  in  1550. 
This  nave  is  a  single-aisled  construction  of  interest  chiefly  for  its  pendant  vaults. 
The  choir,  even  later  in  date,  is  of  no  interest.     (De  la  Balle;  Benoist  IV,  21.) 

VILLENAUX,  Aube.  Eglise.  An  inscription  '  on  the  wall  of  the  interior, 
just  to  the  right  of  the  main  entrance,  records  that  a  dedication  of  the  parish 
church  of  Villenaux  took  place  in  1449.  No  part  of  the  existing  edifice  (which 
consists  of  a  nave,  two  side  aisles,  a  choir,  and  an  ambulatory)  seems  earlier  than 
the  beginning  of  the  XV  century.  The  vaults  of  the  choir  have  never  been  exe- 
cuted, but  the  nave  is  covered  with  multiple  rib  vaults  with  double  pendants. 
Some  of  the  capitals,  which  seem  to  be  in  the  style  of  the  late  XIII  century, 
doubtless  belonged  to  an  earlier  structure.     (Arnaud,  210.) 

TREPORT,  Seine-Inferieure.  St.  Jacques.  This  abbey  church  of  the  XVI 
century  consists  of  a  nave,  two  side  aisles,  and  a  choir.  It  is  vaulted  throughout 
with  pendant  vaults.  The  great  tower,  although  unfinished,  is  extremely  beautiful 
with  its  great  buttresses,  its  stair  turrets,  and  its  fine  flamboyant  detail.     (Cotman.) 

Eglise.  The  edifice  of  the  XI  century  was  rebuilt  in  the  XIV  century.  Al- 
though there  is  no  documentary  evidence  of  a  more  recent  reconstruction,  the  present 
building,  with  its  pendant  vaults,  is  obviously  a  structure  of  the  XVI  century. 

VALOGNES,  Manche.  St.  Malo.  Portions  of  the  choir  and  transepts  date 
from  the  XIII  and  XW  centuries,  and  the  chapel  of  St.  Jean  is  said  to  have  been 
erected  in  1362,  but  the  edifice  was  almost  entirely  rebuilt  in  1412,  and  has  since 
suffered  from  various  Renaissance  additions.  A  curious  disposition  is  the  placing 
of  the  two  towers  —  one  of  which  surmounts  the  crossing,  the  other  the  northern 
side  aisle  —  so  close  that  they  almost  seem  to  touch  one  another.  The  portal  of  the 
XV  century,  with  its  queer  central  support,  turned,  as  it  were,  in  a  lathe,  is  more 
strange  than  beautiful.  The  flying  buttresses  are  at  present  hidden  by  a  continuous 
gable  roof.     Capitals  are  omitted  in  the  nave.     (De  la  Balle;  Benoist  V,  56.) 

BOUILLY,  Aube.  St.  Laurent  consists  of  a  narthex  porch  three  bays  in  length, 
a  nave,  two  side  aisles,  two  chapels  forming  a  sort  of  transept,  two  other  chapels 
at  the  extremities  of  the  side  aisles,  a  choir,  and  a  five-sided  apse.  The  church  orig- 
inally was  only  five  bays  long,  but  it  was  enlarged  by  the  addition  of  an  extra  bay 

'  Anno  Dni  1449  Die  vero  dnica  30  post 
Pascha  21  mensis  Aprilis  dedicatus  est 
Presens  ecclesiae  Parocliialis  de  Villanoxa 
Magna  in  honorem  beatorum  Petri  et  Pauli 
Apostolorum  per  reverendum  in  clero 
Patrem  et  Ducem  Jacobum  Raguier 
Dei  et  sanctae  sedis  Apostolicae 
Gracia  trecem  Episcopum. 

402 


OTHER   MONUMENTS 

about  1540.  The  principal  portal  is  of  the  early  years  of  the  XVI  century.  With 
the  exception  of  the  narthex,  the  edifice  is  vaulted  throughout.  The  three  aisles  are 
all  of  the  same  height;  the  side  aisles  are  roofed  with  a  series  of  gables  set  at  right 
angles  to  the  main  axis.  This  monument  is  a  fine  example  of  the  flamboyant  style. 
(Fichot  I,  359.) 

RICEY-HAUTE-RIVE,  Aube.  Eglise  contains  the  inscription  "finis  coronat 
opus"  with  the  date  1563.  This  agrees  perfectly  with  the  style  of  the  architecture. 
The  edifice  consists  of  a  nave,  two  side  aisles,  a  central  tower,  transepts,  a  choir,  and 
three  polygonal  apses.  There  are  flying  buttresses;  the  side  aisles  have  simple  rib 
vaults;  the  tower  is  Renaissance  in  style.     (Arnaud,  217.) 

CLAMART,  Seine.  Eglise  is  said  to  have  been  erected  at  the  end  of  the  XV 
century,  but  the  style  shows  much  Renaissance  feeling.  The  existing  edifice  con- 
sists of  a  nave  five  bays  long,  two  side  aisles,  and  a  modern  five-sided  apse,  but  origi- 
nally there  was  a  square  east  end.     (Lambin,  71.) 

LAINES-AUX-BOIS,  Aube.  Eglise  consists  of  a  nave,  two  side  aisles  almost 
as  high,  roofed  with  a  series  of  gables  set  at  right  angles  to  the  main  axis,  and  a  three- 
sided  apse.  The  construction  seems  to  date  from  the  early  XVI  century,  although 
slight  variations  of  style  in  different  parts  of  the  edifice  seem  to  indicate  that  the 
church  is  not  entirely  homogeneous.  Many  of  the  details  —  especially  of  the  win- 
dow tracery  —  are  of  exquisite  loveliness.  The  building  is  vaulted  throughout. 
(Fichot,  I,  215.) 

TONNERE,  Yonne.  St.  Pierre.  The  dates  1590,  1603,  1606,  inscribed  on 
the  exterior  walls,  are  confirmed  by  the  style  of  the  edifice,  for  in  the  interior  it  is  evi- 
dent that  a  building  of  the  XV  century  was  made  over  in  the  Renaissance  style,  cap- 
itals and  entablatures  being  added.  There  is  a  fine  Romanesque  portal  in  the  west 
fa9ade,  very  Burgundian  in  style;  the  shafts  are  fluted  and  adorned  with  rinceaux 
and  the  abaci  are  sculptured.     (De  Caumont.) 

VANVES,  Seine.  St.  Remy  must  have  been  erected  in  the  second  quarter  of 
the  XV  century,  for  an  inscription  records  that  the  dedication  took  place  in  1449. 
The  edifice  consists  of  a  nave  three  bays  long,  two  side  aisles  with  square  east  ends, 
a  choir  two  bays  long  loftier  than  the  nave,  and  a  five-sided  apse.  There  is  no  clear- 
story.    Capitals  are  omitted.     (Lambin,  103.) 

TILLlfiRES,  Eure.  Eglise.  The  dates  1543  inscribed  on  one  of  the  trans- 
verse arches  and  1546  on  one  of  the  escutcheons  of  the  apse  are  confirmed  by  the 
style  of  the  edifice  which  betrays  the  influence  of  the  Renaissance  especially  in  the 
window  tracery.  The  vaults  with  multiple  ribs  and  quadruple  pendants  are  master- 
pieces of  their  kind;  the  spaces  between  the  ribs  are  covered  each  by  a  single  stone. 
The  apse  is  polygonal.     (De  la  Balle.) 

ENVERMEN,  Seine-Inferieure.  Notre  Dame.  Although  the  ambitious  re- 
construction commenced  in  the  XVT  century  has  never  been  finished,  the  tower,  which 
rises  at  the  north  angle  of  the  fa9ade,  is  an  interesting  and  picturesque  composition. 
The  church  has  three  aisles  and  transepts,  and  is  supplied  with  pendant  vaults. 

ST.  CALAIS,  Sarthe.  Notre  Dame.  The  present  structure  consists  of  a  rect- 
angular tower,  a  nave,  and  two  side  aisles  at  the  extremity  of  one  of  which  rises  the 

403 


FLAMBOYANT   MONUMENTS 

tower.  This  tower,  which  is  undoubtedly  the  oldest  portion  of  the  existing  edifice, 
is  anterior  to  the  XV  century,  but  the  alterations  to  which  it  was  subjected  in  the 
XVII  century  have  completely  changed  its  character.  The  first  four  bays  of  the  nave 
were  built  and  vaulted  between  1394  and  1425.  The  choir  window  was  rebuilt  in 
1518,  and  the  north  side  aisle  added  in  1520.  Probably  the  southern  side  aisle  and 
the  western  bays  of  the  nave  were  constructed  immediately  afterwards,  for  according 
to  an  inscription  on  the  portal  works  on  this  portion  of  the  edifice  were  terminated 
in  1540.  The  fa9ade  seems  to  be  a  remarkably  early  example  of  the  Renaissance 
style.  The  interior  is  of  little  interest;  there  is  no  clearstory,  and  in  only  one  bay 
is  there  any  system.     (Froger;  Wismes.) 

Abbaye  is  desecrated. 

HUMBERCOURT,  Somme.  Eglise  is  remarkable  for  its  tower  and  stone  spire. 
The  coats  of  arms  in  the  niche  over  the  main  portal  and  the  initials  "G"  and  "A" 
are  believed  to  indicate  that  this  tower  was  built  in  the  time  of  Guy  de  Brimeux  and 
of  Antoinette  de  Rambures,  his  wife.  Since  it  is  known  that  Guy  was  made  chev- 
alier de  la  Toison  d'Or  in  1473  the  tower  was  doubtless  erected  in  the  last  half  of 
the  XV  century.     (Lefevre.) 

TROYES,  Aube.  St.  Nizier.  This  "monument  historique"  is  an  edifice  of 
the  XVI  century  remarkable  for  its  two  fine  portals,  of  which  the  southern  is  flam- 
boyant in  style,  the  western  a  work  of  the  Renaissance.  The  church  contains  fine 
glass. 

St.  Nicolas.  It  is  known  that  in  1523  Clement  VII  granted  indulgences  to  all 
those  who  should  contribute  towards  the  expenses  of  reconstructing  the  church  of 
St.  Nicolas  destroyed  by  fire.  The  existing  edifice  with  its  wavy  system,  disappear- 
ing mouldings,  elliptical  arches,  omitted  capitals,  and  Renaissance  tracery  is  highly 
florid  in  style,  and  yet  for  all  its  decadence  the  interior  is  singularly  beautiful. 

St.  Remi  dates  mainly  from  the  flamboyant  period.  The  tower  is  almost  Roman- 
esque in  style,  although  it  is  said  to  date  from  the  XW  century;  the  nave  is  adorned 
with  a  fine  corbel-table. 

St.  Gilles,  classed  as  a  "monument  historique,"  is  a  wooden  edifice  of  the  end 
of  the  XV  century. 

St.  Pantaleon  is  an  edifice  of  the  XVI  and  XVII  centuries. 

ERVY,  Aube.  Eglise  half  flamboyant,  half  Renaissance  in  style  consists  of  a 
nave,  two  side  aisles,  and  a  choir  with  ambulatory,  and  contains  some  remarkable 
glass.  The  choir  is  vaulted  in  stone,  but  the  nave  is  covered  with  wooden  imitations 
of  vaults.    The  tower  is  of  the  XVII  century.     (Amaud,  227.) 

PONT-STE-MARIE,  Aube.  Eglise  de  VAssomption  consists  of  a  nave,  two 
side  aisles  with  square  east  ends,  a  choir,  and  an  octagonal  apse  —  the  whole  seven 
bays  long.  The  three  aisles  are  all  of  the  same  height,  the  side  aisles  being  roofed 
with  a  series  of  gables  set  at  right  angles  to  the  main  axis.  Low  vaults  surmount  all 
three  aisles;  the  piers  are  cylindrical;  the  west  portal  is  a  fine  piece  of  flamboyant 
lace-work.  The  construction  seems  to  be  of  the  'KYI  century,  and,  indeed,  the  tower 
is  dated  1550  by  an  inscription.     (Fichot  I,  31.) 

MONTGUEUX,  Aube.     Ste.  Croix,  which  may  be  assigned  to  c.  1550,  is  an 

404 


OTHER   MONUMENTS 

edifice  vaulted  throughout.  The  nave  and  side  aisles  are  covered  by  a  single  gable 
roof,  loftier  than  that  of  the  choir.  This  choir  is  earlier  than  the  nave,  for  its  vaults 
are  simple,  while  those  of  the  nave  have  multiple  ribs.  The  piers  are  monocvlin- 
drical.     (Fichot  I,  123.) 

MAMERS,  Sarthe.  Notre  Dame.  This  church  was  finished  in  1579,  but  was 
doubtless  begun  long  before  —  probably  c.  1500  —  for  the  upper  portions  are  of 
inferior  execution  and  evidently  much  later  than  the  lower  parts.  The  interior  is 
characterized  by  columns  without  capitals,  disappearing  and  prismatic  mouldings, 
a  high  clearstory,  and  plaster  vaults  in  the  nave.  Flying  buttresses  were  projected 
but  never  carried  out.  There  are  angle  buttresses.  The  edifice  consists  of  a  nave, 
two  side  aisles,  a  choir,  and  an  ambulatory  —  the  latter  modem.     (Fleury;  Wismes.) 

St.  Nicolas.  The  nave  is  a  work  of  the  Renaissance,  but  the  tower  and  the  single 
southern  side  aisle  are  flamboyant  in  style.  The  portal,  also  Renaissance  in  style, 
dates,  it  is  said,  from  1556.  Otherwise  the  edifice  is  remarkable  only  for  its  modern 
vaults  and  square  east  end.     (Fleury;  Wismes.) 

BEC,  Eure.  Abhaye.  Of  this  monastery,  in  the  XII  century  one  of  the  most 
famous  in  Europe,  only  the  tower  remains.  This  tower  stood  isolated  at  some  dis- 
tance from  the  church;  it  was  commenced  in  1467,  and  finished  in  1480.  (De  la 
Balle;  Benoist  II,  54.) 

CARVILLE,  Seine-Inferieure.  Eglise.  In  the  XVIII  century  this  church  was 
burnt,  and  in  the  consequent  restoration  the  nave  was  so  shortened  that  it  no  longer 
adjoins  the  tower.  The  latter,  one  of  the  gems  of  flamboyant  art  is  truly  "the  giant 
of  the  valley."  In  a  drawing  of  1525  it  is  shown  in  construction.  (De  la  Balle; 
Benoist.) 

LA  CELLE,  Cher.  Ckapelle  St.  Sylrain.  This  edifice,  which  is  assigned  to 
the  XV  century,  consists  of  a  single-aisled  nave  with  prismatic  rib  vaults,  transepts, 
and  by  a  narrow  choir  of  two  bays.  The  roof  and  the  vault  of  the  latter  have  been 
destroyed.     (De  Kersers  VI,  115.) 

CAEN,  Calvados.  Ancienne  Eglise  St.  Etienne-le-Vieitx  was  originally  erected 
in  the  XI  century  some  time  before  the  abbey  church  of  St.  Etierme,  but  was  enlarged 
several  times  before  1426,  when  the  edifice  with  the  exception  of  two  windows  of 
the  XIII  century  was  entirely  rebuilt,  thanks  to  the  liberalities  of  Henry  VI.  As  the 
building  stands  the  exterior  is  of  interest  chiefly  because  of  its  octagonal  central  tower 
—  a  graceful  composition.  Internally  the  well-designed  nave  consists  of  five  bays 
separated  by  piers  which  retain  their  capitals.  A  rich  balustrade  replaces  the  tri- 
forium.    The  system  does  not  extend  below  this.     (De  la  Balle.) 

Eglise  des  Benedictines  (Ancienne  Eglise  des  Cordeliers)  was  destroyed  in  1562. 
The  rebuilding  was  commenced  only  in  1578.  Pointed  windows  of  slight  interest 
still  survive.     (De  Caumont.) 

St.  Ouen  is  of  little  interest.  The  most  ancient  portions  may  be  assigned  to  the 
end  of  the  XV  century.     (De  Caumont.) 

BIENCOURT,  Somme.  St.  Martin  contains  a  flamboyant  portal  and  fine  tra- 
ceried  windows,  two  of  which  retain  their  colored  glass.  The  choir  is  older  than  the 
nave.     (Darsy.) 

405 


FLAIVIBOYANT   MONUMENTS 

HONFLEUR,  Calvados.  St.  Etienne  appears  to  have  been  constructed  at  two 
different  epochs,  for  the  easternmost  bay  and  the  apse  have  large  round-headed  win- 
dows, richly  moulded,  while  the  nave  has  segmental  windows  filled  with  flamboyant 
tracery.     (De  la  Balle.) 

St.  Leonard.  The  fine  flamboyant  portal  is  of  the  last  years  of  the  XV  century; 
the  remainder  of  the  church  is  of  the  Renaissance.     (Benoist.) 

FOLLEVILLE,  Somme.  Eglise,  a  XVI  century  structure  of  exceptional 
beauty,  consists  of  a  single-aisled  wooden-roofed  nave,  a  choir  with  multiple  rib 
vaults  and  much  florid  detail,  and  a  three-sided  apse.     (Bazin.) 

CHAPELLE-ST.-LUC,  Aube.  Eglise,  a  tj-pical  flamboyant  edifice,  consists 
of  a  single-aisled  nave  two  bays  long,  transepts,  a  choir  flanked  by  lateral  chapels, 
and  a  three-sided  apse.  The  date  1579  is  inscribed  on  the  exterior  wall  of  the  first 
bay  of  the  nave.     (Fichot  I,  105.) 

CHATILLON,  Seine.  Eglise  consists  of  a  nave  five  bays  long,  two  side  aisles, 
a  choir  of  one  bay,  and  a  miniature  apse  with  five  windows.  The  vault,  portal,  and 
tower  are  modern:  the  choir  is  the  oldest  part  of  the  church  and  is  assigned  to  c.  1400. 
The  piers  are  square.     (Lambin,  41.) 

BOURGUIGNONS,  Aube.  St.  Plet.  The  reconstruction  of  this  edifice  under- 
taken early  in  the  XVI  century  has  never  been  finished.  The  present  structure  con- 
sists of  a  nave  of  four  bays,  a  southern  side  aisle,  and  a  three-sided  apse.  The  apse 
has  pendant  vaults,  but  the  vaults  of  the  nave  have  been  only  partially  executed. 
(Arnaud.  95  ) 

ELBEUF,  Seine-Inferieure.  Si.  Etienne,  said  to  have  been  constructed  in  1510, 
consists  of  a  nave,  two  side  aisles,  and  a  choir  with  a  pendant  vault.  The  edifice  is 
famous  for  its  glass.     (De  la  Balle:  Benoist.) 

St.  Jean.  The  small  edifice  of  the  XIII  century  was  rebuilt,  it  is  said,  in  1466 
and  consecrated  on  September  21st  of  that  year.  In  1507  the  side  aisle  was  added. 
The  existing  tower,  although  flamboyant  in  style,  is  said  to  date  from  the  XVII 
century.  The  edifice  contains  fine  glass  and  much  Renaissance  detail.  (De  la 
Balle.) 

.4.UMALE,  Seine-Inferieure.  Eglise.  This  monument  consists  of  a  polygonal 
apse,  a  choir  and  transe;pts  reconstructed  in  the  XV  century,  and  a  nave  without 
character.     (Benoist.) 

TORVILLIERS,  Aube.  St.  Denis.  In  the  XAT  century  this  edifice  seems 
to  have  consisted  of  a  groin-vaulted  nave,  two  very  narrow  side  aisles  covered  with 
half -barrel  vaults  buttressing  the  nave  vaults,  and  a  three-sided  apse,  but  subsequently 
several  chapels  were  added.  The  design  is  characterized  by  disappearing  ribs,  cylin- 
drical piers,  angle  buttresses,  and  the  absence  of  a  clearstory.  The  windows  contain 
glass  of  the  XVI  century.     (Fichot  I,  196.) 

TOUCHAY,  Cher.  St.  Martin.  The  square  choir,  very  low,  is  pierced  by 
three  windows,  and  covered  with  a  prismatic  rib  vault.  To  the  north  is  a  square 
chapel,  also  vaulted,  that  must  date  from  late  in  the  XV  century.  Its  ogee  portal  is 
surmounted  by  a  lintel  with  an  escutcheon  which  no  visitor  will  omit  to  study.  The 
nave  is  vaulted  in  plaster.     (De  Kersers  V,  183.) 

406 


OTHER  MONUMENTS 

LES  NOES,  Aube.  Eglise  consists  of  a  nave,  two  side  aisles,  and  a  five-sided 
apse.  With  the  excejtlion  of  the  portal  of  the  XVII  century,  the  edifice  is  a  homo- 
geneous edifice  of  the  early  years  of  the  XVI  century.  The  aisles  are  all  of  the  same 
height,  the  side  aisles  being  roofed  with  a  series  of  gables  set  at  right  angles  to  the 
main  axis.  Internally  the  church  is  characterized  by  simple  rib  vaults,  prismatic 
mouldings,  and  much  ancient  glass. 

P0NT-L'£V£QUE,  Calvados.  St.  Michel  has  suffered  in  two  disastrous  res- 
torations executed  in  1867  and  in  1888.  In  the  first  the  northern  and  southern  fa9ades 
were  rebuilt  on  an  entirely  new  design;  in  the  second  the  stone  vaults  of  the  nave  and 
choir,  which,  though  projected,  had  never  been  carried  out,  were  erected.  Ancient 
records  preserved  in  the  treasury  record  that  in  1483  works  were  executed  for  the 
"construction  and  maintenance"  (I'oeuvre  et  reparation)  of  the  building.  This 
work  was  still  unfinished  in  1530,  although  the  windows,  which  still  exist,  had  been 
placed  in  1498  and  1499.  The  existing  monument  —  with  the  exception  of  the 
pendant  vaults  in  the  side  aisles  —  is  very  restrained  in  style.  Though  the  dimen- 
sions are  large  there  is  neither  transept  nor  ambulatory,  and  a  single  western  tower 
relieves  the  fa9ade.     (De  la  Balle;  Benoist  III,  50.) 

TKESSON,  Sarthe.  Eglise.  One  of  the  ancient  windows  bears  an  inscrip- 
tion with  the  date  1638,  but  the  main  body  of  the  edifice  seems  to  be  about  a  century 
earlier.  The  building  consists  of  a  single-aisled  nave,  transepts,  and  a  polygonal 
apse.  With  the  exception  of  the  nave  the  monument  is  vaulted  throughout,  and 
the  vaults  of  the  transepts  have  multiple  ribs  and  pendants.     (Froger.) 

ST.-LEGER-LEZ-TROYES,  Aube.  Eglise.  This  unfinished  edifice,  which 
is  assigned  to  c.  1510,  consists  of  a  nave  four  bays  long,  two  side  aisles,  and  a  five- 
sided  apse.  The  fa9ade  is  a  work  of  the  Renaissance.  A  simple  rib  vault  covers 
the  nave;  the  wooden  roof  sm-mounting  the  nave  is  continued  to  the  unfinished  walls 
of  the  side  aisles.  The  church  contains  some  wonderful  glass  of  the  XVI  century. 
(Fichot  I,  439.) 

JAVERNANT,  Aube.  Eglise  assigned  to  the  early  XVI  century,  consists  of  a 
single-aisled  vaulted  nave  four  bays  long,  transepts,  and  a  five-sided  apse.  The 
western  portal  with  its  Renaissance  detail  is  of  interest.     (Fichot  I,  402.) 

COMPlftGNE,  Oise.  St.  Antoine  was  founded,  it  is  said,  in  1199.  The  cross- 
ing of  the  existing  structure  contains  some  fragments  of  XIII  century  architecture, 
but  the  remainder  of  the  edifice  is  of  the  XVI  century.  The  building  consists  of  a 
nave,  two  side  aisles,  and  a  choir  with  ambulatory.  The  f  a9ade  is  adorned  with  two  tur- 
rets, a  rose  window,  and  a  fine  flamboyant  portal,  very  broad  in  its  effect.     (Ballyhier.) 

St.  Germain  was  destroyed  in  1430  and  subsequently  reconstructed.  (Bally- 
hier.) 

ST.-GERMAIN-LINgON,  Aube.  Eglise,  of  the  early  years  of  the  XVI  cen- 
tury, consists  of  a  nave,  two  side  aisles  almost  as  high  as  the  rest  of  the  edifice  and 
roofed  with  a  series  of  gables  set  at  right  angles  to  the  main  axis,  and  a  five-sided 
apse.  The  monument  is  vaulted  throughout,  and  the  large  windows  are  filled  with 
tracery.  The  western  bays  of  the  nave  have  never  been  finished  —  a  fact  concealed 
by  the  modern  tower.     (Fichot  I,  246.) 

407 


FLAMBOYANT   MONUMENTS 

SURY-EN-LERfi,  Cher,  liglise,  of  the  end  of  the  XV  or  early  XVI  century, 
consists  of  a  large  nave  covered  with  a  rib  vault  whose  members  include  a  ridge  rib, 
of  a  large  chapel  adjoining  to  the  south,  and  of  a  polygonal  apse  with  angle  buttresses. 
The  piers  of  the  nave  have  prismatic  and  interpenetrating  mouldings.  (De  Kersers 
V,  41.) 

ST.-PARRE-LES-TERTRES,  Aube.  St.  Patrode.  This  edifice,  erected  in 
the  early  years  of  the  XVI  century,  consists  of  a  nave  of  five  bays,  two  side  aisles,  and 
a  polygonal  apse,  but  the  western  bay  of  the  nave  has  been  destroyed.  The  north- 
western tower  is  dated  1537  by  an  inscription.  The  vaults  have  multiple  ribs  and 
pendants.     Much  of  the  glass  is  ancient.     (Fit-hot  I,  76.) 

FfiCAMP,  Seine-Inferieure.  St.  Etieniie  was  designed,  it  is  said,  by  Antoine 
Bohier.     The  edifice  has  never  been  completed.     (Benoist.) 

CHATEAU-THIERRY,  Aisne.  St.  Crepin  is  a  fine  flamboyant  church  with  a 
lateral  tower. 

SOMMERVAL,  Aube.  St.  Martin  consists  of  a  single-aisled  nave,  transepts, 
and  a  semicircular  apse.  The  entire  edifice  is  roofed  in  wood,  with  the  exception 
of  the  choir,  which  still  preserves  its  Romanesque  barrel  vault.  The  main  body  of 
the  edifice  was  reconstructed  in  the  XVI  century,  the  western  tower  in  the  XVIII. 
(Fichot  I,  466.) 

S0UVIGNY-SUR-M£ME,  Sarthe.  St.  Martin  is  of  interest  as  showing  the 
development  of  the  Renaissance  style  in  the  XVI  century,  for  the  building  dates  are 
unusually  well  established.  The  nave  of  a  single  aisle  commenced  in  1522  is  flam- 
boyant, but  Renaissance  feeling  is  evident  in  the  round-arched  portal  of  1542.  The 
triumphal  arch  bears  the  date  1584. 

PARNAY,  Cher.  Eglise  is  desecrated,  and  at  present  converted  into  a  shop. 
The  ribs  of  the  choir  vault  penetrate  the  monocylindrical  piers.  The  nave  contains 
a  round-arched  portal.     (De  Kersers  IV,  130.) 

GR£EZ-SUR-R0C,  Sarthe.  St.  Pierre.  The  existing  single-aisled  nave  dates 
from  the  XI  or  XII  century,  but  the  ancient  fa9ade  was  destroyed  in  1858.  The  tower 
is  somewhat  later  than  the  nave.  An  inscription  on  one  of  the  corbels  records  that 
the  choir  was  erected  in  1527;  it  is  vaulted  and  has  a  fine  chevet;  its  style  is  that  of 
the  Renaissance.  The  nave  was  remodeled  about  the  same  time  that  the  choir  was 
built.     (Vavasseur.) 

RICEY-BAS,  Aube.  Eglise  was  reconstructed  in  the  XV  century,  although 
the  west  portal  is  of  the  Renaissance  style.  The  edifice  consists  of  a  nave,  two  side 
aisles,  transepts,  a  central  tower,  chapels,  and  a  three-sided  apse.  The  nave  has  a 
pendant  vault,  but  the  vaults  of  the  choir  and  transepts  are  simple.     (Arnaud,  221.) 

LILLEBONNE,  Seine-Inferieure.  Eglise  possesses  a  clocJicr  which  must  be 
considered  as  one  of  the  finest  products  of  flamboyant  design.  This  was  begun  in 
1496,  but  was  not  completed  before  1542.  The  design  is  restrained,  and  the  spire 
is  not  in  open  work;  the  transition  from  square  to  octagon  is  managed  not  by  means 
of  flying  buttresses,  but  by  dormers  and  pinnacles.  An  effect  of  peculiar  charm  is 
produced  by  making  one  of  these  pinnacles  larger  than  the  others.     (De  la  Balle.) 

JARS,   Cher.     Eglise.     Of  the  building  erected  by  Archembaud  de  Seuly  c. 

408 


OTHEE   MONUMENTS 

1200  there  survives  only  the  core  of  the  western  tower,  the  remainder  of  the  edifice 
having  been  remodeled  in  the  XVI  century.  The  present  structure  consists  of  a 
single-aisled  nave,  transepts,  and  a  seven-sided  apse,  the  whole  vaulted  with  very 
complex  multiple  rib  vaults.  The  capitals  show  Renaissance  feeling.  (De  Kersers 
VII,  259.) 

NEUBOURG,  Eure.  Chapelle  du  Chateau.  The  fa9ade  with  its  two  unfin- 
ished towers  is  very  decadent  in  style,  but  was  probably  erected  during  the  first  half 
of  the  XVI  century.  Capitals  are  omitted,  but  strangely  enough  griffes  appear. 
The  remainder  of  the  edifice  is  a  tj'pical  three-aisled  country  edifice,  remarkable  only 
for  the  column  placed  on  the  a.xis  of  the  chevet.     (De  la  Balle.) 

STE.  jNIAURE,  Aube.  Eglise.  The  nave  and  the  two  side  aisles  are  of  the 
end  of  the  XV  century,  the  transepts  and  the  choir  were  constructed  in  1546.  The 
clearstory  is  omitted.     There  is  a  southwest  tower.     (Fichot  I,  .56.) 

BANNAY,  Cher.  Eglise  consists  of  a  single-aisled  nave,  very  low  and  cov- 
ered with  plaster,  a  choir  of  one  bay,  and  a  polygonal  apse.  The  eastern  portions 
were  reconstructed  in  the  XV  century.  The  vault  of  the  apse  is  formed  by  six  ribs 
converging  towards  a  central  keystone.     (De  Kersers  VII,  1.) 

SACQUEIsATLLE,  Eure.  Eglise,  of  the  XV  century,  contains  two  parallel 
naves.  On  one  of  the  keystones  of  the  vault  is  an  inscription  which  reveals  the  name 
of  the  master  builder:  — "Andre  Coury  Mafon  pries  Dieu  por  li!" 

AUBERVILLIERS,  Seine.  Eglise.  The  fa9ade  and  tower  are  said  to  date 
from  1541.  The  nave,  also  of  the  XVI  century,  has  an  elaborate  vault  with  mul- 
tiple ribs  and  pendants.  The  side  aisles  are  also  vaulted.  The  east  end  is  square. 
{In.  Gen.  I,  69.) 

ST.  AMBROIX,  Cher.  Eglise  consists  of  a  rectangular  vaulted  choir  of  which 
the  prismatic  ribs  are  carried  on  corbel-tables,  a  semicircular  arch  of  triumph,  tran- 
septs, a  chapel,  a  single-aisled  wooden-roofed  nave,  and  a  narthex-tower.  The 
building  is  said  to  have  been  erected  in  the  XV  century.     (De  Kersers  III,  169.) 

IR\^^-LA-BATAILLE,  Eure.  St.  Martin.  The  nave  of  this  monument  is 
said  to  have  been  reconstructed  by  Philibert  de  I'Orme  at  the  command  of  Diane  de 
Poitiers.  The  building  was  probably  finished  in  1537,  since  this  date  may  be  read 
on  the  exterior  of  the  north  wall  of  the  chevet.     The  beU  bears  the  date  1538. 

LEPINE,  Aube.  St.  Barthelemy  possesses  a  richly  painted  wooden  ceiling. 
The  three-sided  apse,  the  choir,  and  the  transepts  are  flamboyant  in  style,  and  are 
characterized  by  angle  buttresses  and  large  traceried  windows  filled  with  XVI  cen- 
tury glass.     The  nave  is  smaller,  and  appears  somewhat  earlier.     (Fichot  I,  256.) 

BIENFAITE,  Calvados.  Eglise  of  the  XV  century  possesses  a  graceful  slate 
spire.     (Benoist  III,  66.) 

MARCHEZIEUX,  Manche.  Eglise  consists  of  a  nave  of  the  XIII  century, 
two  side  aisles,  transepts,  and  a  rectangular  choir  of  the  XIV  century.  The  nave 
.vaults,  carried  on  a  system  in  which  the  capitals  are  omitted  and  the  vaults  disappear, 
were  doubtless  added  in  the  XV  century.  There  is  no  clearstory.  The  piers  are 
cylindrical  and  the  capitals  have  round  abaci.     (De  la  Balle.) 

ST.-AUBIN-D'ECROSVILLE,    Eure.     Eglise,    a   building   half    fiamboyant, 

409 


FLAMBOYANT   MONUMENTS 

half  Renaissance  in  style,  is  characterized  by  a  northwestern  tower,  by  side  aisles 
without  vaults,  by  a  square  east  end,  and  by  the  absence  of  a  clearstory.  (De  la 
Balle.) 

COURS-LES-BARRES,  Cher.  St.  PantaUon  has  been  so  many  times  rebuilt 
that  the  nave  at  present  is  entirely  without  character.  The  choir  of  the  XV  century 
is  two  bays  long  and  vaulted.  The  ribs  penetrate  the  quarter  columns  engaged  in 
the  angles.     (De  Kersers  TV ,  232.) 

BELL£ME,  Orne.  Eglise,  of  the  XVI  century,  possesses  a  broad  nave  flanked 
by  three  chapels  on  the  north,  and  four  on  the  south,  side.     (De  la  Balle.) 

VENDEUVRE,  Aube.  Eglise  was  entirely  reconstructed  in  the  flamboyant 
period.  The  nave  of  three  bays  has  no  windows,  and  its  vaults  with  double  pendants 
are  very  low.  There  are  side  aisles,  but  no  lateral  chapels.  The  church  contains 
some  ancient  glass.     (Arnaud,  213.) 

STE.-SUZANNE-SUR-VIRE,  Manche.  Eglise,  constructed  about  the  middle 
of  the  XV  century,  consists  of  a  single-aisled  nave  and  a  polygonal  apse.  There  is 
a  deep  stone  porch.     The  edifice  is  rib-vaulted  throughout.     (De  la  Balle.) 

AIGLE,  Orne.  St.  Martin  possesses  a  very  beautiful  flamboyant  spire. 
(Benoist.) 

PONTS-SOUS-.WRANCHES,  Manche.  Eglise.  The  transepts  and  the 
choir  are  of  the  X^'  century,  the  portal  of  the  end  of  the  XVI  century,  but  the  entire 
edifice  was  much  altered  in  the  XVII  century.  The  monument,  which  consists  of 
a  single-aisled  nave,  transepts,  and  a  rectangular  choir,  is  uninteresting.  (De  la 
Balle.) 

ST.  VALERY,  Seine-Inferieure.  Abbaye.  The  ruined  nave  of  the  XV  century 
is  half  Renaissance,  half  flamboyant  in  style,  but  the  lady  chapel  is  frankly  Renais- 
sance.    (Benoist.) 

LA  CHAPELLE-D'ANGILLON,  Cher.  Eglise,  erected  at  the  end  of  the  XV 
century,  consists  of  a  single-aisled  nave,  a  polygonal  apse,  and  a  northern  lateral 
tower.     The  whole  has  been  much  modernized.     (De  Kersers  III,  7.) 

HATTENVILLE,  Seine-Inferieure.  Eglise  is  remarkable  for  its  fine  tower  of 
the  XVI  century. 

AUXON,  Aube.  Eglise  of  the  XVI  century,  is  Renaissance  rather  than  flam- 
boyant iu  style. 

ST.  FROMOXD,  Manche.  Prieiire.  The  existing  chapel,  which  is  not  older 
than  the  XV  century,  consists  of  an  apse,  a  choir,  a  central  tower,  and  transepts.  The 
absence  of  a  nave  is  explained  by  the  fact  that  a  parish  church  formerly  existed  in 
the  neighborhood. 

LONGNY,  Orne.  Eglise  of  the  X'N'  and  XVI  centuries,  is  characterized  by  a 
picturesque  tower,  a  square  east  end,  and  a  gable  roof. 

PLAINVILLE,  Eure.  Eglise.  The  single-aisled  wooden-roofed  nave  is  of 
the  beginning  of  the  XV  century,  but  the  choir  and  the  sacristy  were  erected  in  the 
XVI  century.     (De  la  Balle.) 

MLNILLES,  Eure.  Eglise.  The  portal,  a  gem  of  flamboyant  design,  is  charac- 
terized by  flattened,  round,  and  ogee  arches.     (De  la  Balle.) 

410 


OTHER   MONUMENTS 

BOULLERET,  Cher.  Eglise  consists  of  a  nave  of  the  XV  century  at  present 
covered  with  a  plaster  barrel  vault,  a  vaulted  choir  two  bays  long  reconstructed  in 
the  second  half  of  the  XV  century,  and  a  three-sided  apse.  The  prismatic  ribs 
penetrate  the  engaged  cylindrical  piers.  The  entire  edifice  has  been  much  modern- 
ized.    (De  Kersers  V,  8.) 

BRIQUEVILLE,  Calvados.  Eglise  has  been  recently  reconstructed  in  large 
"  part.  The  tower,  with  its  elegant  if  somewhat  heavy  spire,  is  a  structure  of  the  late 
XII  century,  made  over  in  the  XV  century.     (De  la  Balle.) 

VILLEMAUR,  Aube.  Eglise  was  burned  in  1446,  reconstructed  in  1512,  and 
dedicated  in  1519.  It  consists  of  a  nave  of  a  single  aisle,  transepts,  and  a  rectangular 
choir.  The  windows  are  without  tracery.  The  vaults  have  been  replaced  by  a 
wooden  roof.     (Arnaud,  207.) 

VEAUGUES,  Cher.  Eglise  consists  of  a  rectangular  nave  roofed  in  wood,  and 
a  choir  whose  square  east  end  is  pierced  by  a  lancet.  The  ribs  of  the  choir  vaults 
penetrate  the  supports.     (De  Kersers  VII,  88.) 

NEUVY-SAUTOUR,  Yonne.  Eglise.  The  nave,  dating  from  the  early  years 
of  the  XVI  century,  is  of  slight  interest;  the  remainder  of  the  edifice  is  a  fine  example 
of  the  Renaissance  style.     (Arch,  de  la  Com.  des  Mon.  Hist.  II,  83.) 

ALEN^ON,  Orne.  St.  Leonard  dates  mainly  from  the  late  XVI  century, 
although  the  edifice  was  begun  as  early  as  1489.  Only  the  walls  survive.  The 
vault  which  fell  in  1645  was  rebuilt  in  1840.     (De  la  Balle.) 

ST.  POTJANGE,  Aube.  St.  Marc  consists  of  a  single-aisled  wooden-roofed 
nave  and  a  five-sided  apse.  The  church,  which  is  of  very  slight  importance,  was 
built  in  the  XVI  century.     (Fichot  I,  455.) 

PIPARDIERE,  Calvados.  Chapelle  of  charming  simplicity,  is  said  to  date 
from  the  end  of  the  XV  century. 

CLAIRFEUILLE,  Orne.  St.  Germain.  It  is  known  that  this  church  was 
burned  in  1438,  and  the  existing  edifice  was  doubtless  constructed  immediately  after 
this  fire.  The  single-aisled  nave  is  covered  with  a  modern  wooden  roof;  a  massive 
Norman  tower  adjoins  to  the  north.     (De  la  Balle.) 

THORIGNE,  (near  Livarot),  Sarthe.  Eglise.  In  the  course  of  recent  res- 
torations an  inscription  recording  that  the  buildingr  was  constructed  in  1512, — 
"P.  Dumans  ma  contretillee  Ian  quon  dit  mil  cinq*^  doze,"  —  was  found  upon  the  fine 
carved  timber  roof. 

NOGENT-EN-OTHE,  Aube.  Notre  Dame.  This  single-aisled  chapel  of 
three  bays  contains  some  XVI  century  glass.     (Fichot  I,  303.) 

LA  BONNEVIIiLE,  Eure.  Eglise  of  the  XV  century  contains  some  glass  of 
the  epoch.     (Benoist.) 

AIX-EN-OTHE,  Aube.  St.  Avit  is  said  to  have  been  dedicated  in  1537.  The 
choir  was  demolished  in  1836.  What  remains  consists  of  a  single-aisled  nave  lighted 
by  six  windows  (only  one  of  which  has  tracery)  and  covered  with  a  plaster  vault. 
(Fichot  I,  282.) 

Eglise  de  la  Nativiie  dates  from  the  very  late  XVI  century.  (Fichot  I, 
271.) 

411 


FK\MBOYANT   MONUMENTS 

NOTRE-DAME-DU-TOLTHET,  ]Manche.  Eglise  consists  of  a  single- 
aisle  nave,  a  central  western  tower,  and  a  square  choir,  probably  of  the  XV  century. 
The  eastern  window  contains  some  ancient  glass.     (De  la  Balle.) 

OFFRANVILLE,  Seine-Inferieure.  Eglise.  The  construction  is  said  to  have 
been  begun  in  1517  and  to  have  been  interrupted  by  the  \yars  of  Religion.  (Benoist 
I,  61.1 

BL\RD,  Manche.  Eglise  was  erected  in  1530,  but  the  nave  and  transepts  were 
rebuilt  in  the  XVIII  century.  The  tower,  almost  entirely  Renaissance  in  style,  does 
not  lack  a  certain  charm.     (De  la  Balle.) 

DOULLEXS,  Somme.  Notre  Dame,  formerly  known  as  St.  Martin,  was 
erected  in  the  XVI  century.  The  ancient  sacristy  of  the  XV  century  has  been 
turned  into  a  chapel. 

BAR-SUR-AUBE,  Aube.  Chapclle  Sf.  Jean  is  a  plain  rectangular  structure, 
two  bays  long  and  vaulted.  It  is  assigned  to  the  XV  century.  (Amaud, 
263.) 

VILLEDIEU-LES-POELES,  Manche.  Eglise.  The  transepts  and  choir 
were  finished  before  149.5,  the  side  aisles  were  added  in  1634,  and  the  nave  vaults 
are  modern.  -At  present  the  edifice  consists  of  a  nave,  two  side  aisles  transepts,  a 
central  tower,  a  choir,  and  a  polygonal  apse.  The  nave  is  shorter  than  the  choir. 
There  are  no  flying  buttresses,  although  there  is  a  considerable  clearstory.  (De  la 
Balle.) 

DA^RTLLE.  Eure.  St.  Evrouli  is  a  flamboyant  edifice  whose  plan  is  cruciform 
owing  to  the  north  lateral  chapel  and  a  south  lateral  tower.  The  wooden  vaults  are 
modem.     The  tower  is  the  most  remarkable  part  of  the  building.     (Lestrambes) 

BOUQUE^I,A.ISON,  Somme.  Eglise.  The  choir  vaulted  with  multiple  rib 
vaults  is  of  the  XVI  centurj-,  but  the  nave  is  of  the  XVII  century.     (Lefevre.) 

VINON,  Cher.  Eglise,  of  the  flamboyant  period,  possesses  a  modem  apse,  and 
a  central  western  tower.     (De  Kersers  VII,  91.) 

DOUDEVILLE,  Seine-Inferieure.  Eglise,  reconstructed  in  the  XAT  century 
in  imitation  of  SL-Valery-en-Caux,  is  of  no  interest. 

TOUQUES,  Calvados.  St.  Thomas.  The  choir  and  tower  are  said  to  be  of 
the  XV  century.     (Benoist.) 

GRANVILLE,  Manche.  Eglise  is  mainly  of  the  XV  century,  though  the  nave 
is  of  the  XVII  century.     (De  la  Balle:  Benoist.) 

BOITLLAXCOURT,  Somme.  St.  Jacques-le-Majeiir  was  erected  at  the  end 
of  the  XV  century.  The  choir  is  narrower  than  the  nave.  The  building  contains 
ancient  glass.     (Darsy.) 

ST.  THIBAL'T,  Aube.  Eglise.  This  monument  restored  in  1S77  consists  of 
a  single-aisled  wooden-roofed  nave  and  a  semicircular  apse  built  on  substructions 
of  the  Xn  century.  The  fa9ade  retains  in  part  its  XAT  century  decoration.  The 
choir  has  a  barrel  vault,  but  its  windows  are  pointed.     (Fichot  I,  460.) 

SLTlY-£S-BOIS,  Cher.  Eglise.  The  single-aisled  nave  is  covered  by  a  modem 
vault,  but  the  polygonal  chevet  is  of  the  XV  or  X^T  century.  There  is  a  large  and 
entirely  iminteresting  northern  chapel.     (De  Kersers  \TI,  273.) 

412 


OTHER  MONUMENTS 

ST.  THIBAUD,  Cher.  Chapelle  of  the  XV  century  is  a  plain  rectangular  struc- 
ture with  oblique  angle  buttresses.     (De  Kersers  VII,  54.) 

VIMOUTIERS,  Orne.  Vieille  Eglise  consists  of  a  nave,  two  side  aisles,  tran- 
septs, and  a  square  choir.     (De  la  Balle.) 

BOURG-ACHARD,  Eure.  Eglise.  Of  the  ancient  edifice  there  remain  only 
the  choir  and  transepts  built  in  the  XVI  century  and  interesting  for  their  stained  glass 
windows.     (De  la  Balle;  Benoist  II,  64.) 

IMBLEVILLE,  Seine-Inferieure.  Eglise  destroyed  during  the  English  occupa- 
tion, was  reconstructed  at  the  end  of  the  XV  century,  the  dedication  being  celebrated 
in  1.522.  Alterations  were  carried  out  in  1748-51,  when  the  pointed  arch  of  triumph 
separating  choir  and  nave  was  erected,  and  in  1853-63  the  choir  was  entirely  demol- 
ished and  rebuilt  in  its  present  form.     (De  la  Balle.) 

STE.-HONORINE-LA-CHARDONNE,  Orne.  Eglise.  The  choir  and  the 
two  baron's  chapels  of  the  end  of  the  XV  century  are  characterized  by  angle  but- 
tresses and  traceried  windows.     (De  la  Balle.) 

MARTIGNY,  Manche.  Eglise.  The  date  of  the  choir  (1549-50)  is  known 
from  two  inscriptions.  The  edifice  contains  some  ancient  glass.  (De  la  Balle; 
Benoist  V,  47.) 

LONGPAON,  Seine-Inferieure.  Eglise  of  the  XV  and  XVI  centuries,  is  chiefly 
remarkable  for  its  windows.     (Benoist.) 

VISINE,  Somme.     Eglise  of  three  aisles  dates  from  the  XV  century.     (Darsy.) 

VIGNOUX-SOUS-LES-AIX,  Cher.  Eglise.  The  three-sided  apse  was  re- 
constructed in  the  XVI  century,  but  retains  a  corbel-table  with  grotesque  carvings  of 
the  XII  century.  The  entire  edifice  was  restored  in  1691,  and  the  tower  and  nave  are 
modern.     (De  Kersers  VI,  248.) 

SUBLIGNY,  Cher.  Eglise  consists  of  a  plaster-covered  nave,  a  somewhat 
narrower  choir,  a  polygonal  apse,  two  rib-vaulted  chapels  of  the  XV  century,  and  a 
north  lateral  tower.     (De  Kersers  VII,  269.) 

ECHAUFFOUR,  Orne.  St.  Andre  is  for  the  most  part  a  flamboyant  structure. 
The  tower  is  not  without  interest.     (De  la  Balle.) 

INFREVILLE,  Eure.  Eglise.  The  choir  and  the  apse  are  of  the  end  of  the 
XV  century,  the  insignificant  tower  is  probably  of  the  XIII  century,  and  the  vaulted 
nave  is  for  the  most  part  a  work  of  the  Renaissance.     (De  la  Balle.) 

LE  VEUILLIN,  Cher.  Eglise  is  desecrated  and  at  present  converted  into  a 
grange.  The  choir  of  the  XV  century  was  two  bays  long  and  vaulted.  (De 
Kersers  FV,  220.) 

HEURTEVENT,  Calvados.  Eglise  is  said  to  be  of  the  XV  century.  (Benoist 
III,  70.) 

ARDEVON,  Manche.     Chapelle  de  St.  Gilles  is  said  to  be  of  the  XV  century. 

BEAUVAIS,  Oise.  Ste.  Marguerite  is  an  unimportant  monument  of  the  flam- 
boyant period. 

VILLELOUP,  Aube.  Eglise.  With  the  exception  of  the  modern  nave,  this  is 
an  edifice  of  the  XVI  centur}'.  It  consists  of  a  nave,  transepts,  and  a  five-sided  apse. 
The  choir  is  vaulted  and  retains  some  fragments  of  its  ancient  glass.     (Fichot  I,  209.) 

413 


FLAMBOYANT   MONUMENTS 

MONTSORT,  Orne.  Eglise  consists  of  a  single-aisled  nave  without  character, 
flamboyant  transepts,  a  central  tower  of  1707,  and  a  choir.  The  nave  may  be  as  early 
as  the  XII  century,  but  the  facade  is  of  the  XV  century.     (Antoine.) 

PECHESEUL,  Sarthe.  Chapelle  St.  Miehel-d' Avoise  is  said  to  have  been  con- 
structed in  1539.     (Wismes.) 

FORMIGNY,  Calvados.  Chapelle  St.  Louis-du-V al-de-Formigny  is  an  edifice 
of  the  XV  century.     (De  la  Balle.) 

ATHIS,  Orne.     Eglise  is  said  to  be  of  the  XV  century.     (Benoist.) 

CHERY,  Cher.  Eglise.  The  single-aisled  nave  (which  seems  to  be  an  older 
edifice  made  over  in  the  XV  century)  and  the  western  narthex  tower  bearing  the  date 
1578  are  the  only  surviving  portions.  The  nave  has  angle  buttresses.  (De 
Kersers  V,  209.) 

MARTAINE^^LLE,  Somme.  St.  Pierre  consists  of  a  five-sided  apse,  a  flam- 
boyant choir,  and  an  earlier  nave.     (Darsy.) 

TOURNY,  Eure.  Eglise.  This  flamboyant  edifice  is  a  typical  three-aisled 
country  church. 

LIVAROT,  Calvados.  Eglise  seems  to  be  mainly  of  the  XV  century,  although 
the  two  dates  1625  and  1654  may  be  read  on  the  facade.     (Benoist  III,  69.) 

CORBIE,  Somme.  Eglise  de  la  Neuvillc-soiis-Corbie.  The  portal  of  the  XV 
century  is  adorned  with  remarkable  sculptures. 

COURBOYER,  Orne.     Clmpelle  du  Chateau  is  a  flamboyant  edifice.     (Benoist.) 

JUCOVILLE,  Calvados.  Chapelle  is  a  charming  construction  of  the  XV  cen- 
tury.    (Benoist.) 

CLA\TLLE,  Eure.  Eglise  of  the  XV  century  contains  some  fine  windows. 
(Benoist  II,  9.) 

AXCOURT,  Seine-Inferieure.  Eglise  is  remarkable  for  its  seven  windows  filled 
with  glass  of  the  X^^[  century.     (Benoist.) 

TRUN,  Orne.  Eglise.  This  unimportant  edifice  is  largely  of  the  XVI  century, 
but  the  bell  tower,  which  stands  detached  to  the  north,  is  somewhat  earlier.  (De  la 
Balle.) 

ESSAY,  Orne.  Chapelle  du  Chateau.  This  desecrated  edifice  was  erected  in 
the  XV  century  on  more  ancient  foundations.     (De  la  Balle.) 

ROMAGNY,  Manche.  Eglise  dates  from  the  commencement  of  the  XV  cen- 
tury.    (De  la  Balle.) 

]\L\ULEVRIER,  Seine-Inferieure.  Eglise  was  constructed  in  the  X\T  century. 
(De  la  Balle.) 

SAGNY.  Seine-et-Marne.  Egli.ic.  This  ruined  and  desecrated  edifice  is  said 
to  be  of  the  XV  century.     TAufau^Te  et  Fichot,  181.) 

MEMOURS,  Seine-et-Mame.  St.  Jean-Bapiiste.  This  monument  of  the  XVI 
century  is  supplied  with  an  ambulatory. 

NORMAN^'ILLE,  Eure.     Eglise,  of  the  XV  century,  contains  fine  glass. 

BACQUEVILLE,  Seine-Inferieure.     £glise  is  of  the  X\T  century.     (Benoist.) 

RA1MBURELLE&-LE-BOSQUET,  Somme.  Eglise.  The  low  nave  seems 
very  ancient,  but  the  loftier  choir  is  of  the  X\T  century.     (Darsy.) 

414 


OTHER  MONUMENTS 

PASSAIS-LA-CONCEPTION,  Orne.  Eglise  of  the  XV  century  is  of  little 
interest.  It  contains  a  single-aisled  nave,  transepts,  and  a  western  tower.  (De  la 
Balle.) 

SANCEY,'  Aube.  Eglise.  This  vaulted  cruciform  edifice  is  a  flamboyant 
structure  entirely  remodeled  in  the  XIX  century.     (Fichot  I,  258.) 

GRON,  Cher.  Eglise  consists  of  a  single-aisled  nave  and  a  polygonal  apse.  It 
is  of  interest  only  for  its  glass  of  the  XVI  century.     (De  Kersers  I,  228.) 

LA  SUZE,  Sarthe.     Eglise.     The  timber  roof  was  remade  in  1473.     (Froger.) 

GODERVILLE,  Seine-Inferieure.  Eglise  is  in  part  of  the  XVI  century,  but 
has  been  much  modernized.     (Benoist  I,  50.) 

IIAMBYE,  Manche.  St.  Pierre  is  almost  entirely  modern  with  the  exception 
of  the  fine  porch  of  the  XV  century.     (De  la  BaUe.) 

ST.  AMAND,^  Cher.  Chapelle  des  Carmes  is  a  late  Gothic  structure  with  a 
Renaissance  fa9ade.     (De  Kersers  VI,  177.) 

PARASSY,  Cher.  Prieure  de  Miehavant.  Some  fragments  of  XV  century 
architecture  which  formerly  belonged  to  the  apse  of  this  chapel  still  survive.  (De 
Kersers.) 

PREY,  Eure.  Eglise.  The  southern  portal  of  the  XVI  century  is  finely  sculp- 
tured.    (Benoist.) 

LANDE  D'AIRON,  Manche.     Eglise  is  of  decadent  style.     (De  la  Balle.) 

VILLEMOIRON,  Aube.  Eglise  is  almost  entirely  of  the  Renaissance.  (Fichot 
I,  .'546.) 

MONTFORT,  Eure.  Eglise.  This  almost  entirely  modern  edifice  is  interest- 
ing only  for  its  tower.     (Benoist  U,  60.) 

\TEUX-BEELEME,  Orne.  St.  MaHin.  The  XV  century  vaults  and  the 
tower  fell  in  1846.     (De  la  Balle.) 

SOLIERS,  Calvados.  Chapelle  Notre  Dame-de- Fours  is  a  small  monument  of 
the  XV  century.     (Benoist  III,  33.) 

BELLEUF,  Seine-Inferieure.  Eglise.  The  nave  is  said  to  be  of  the  XVI  cen- 
tury.    (De  la  Balle.) 

BOSC-GUERARD-ST.-ADRIEN,  Seine-Inferieure,  Eglise  is  of  the  XVI  cen- 
tury.    (De  la  Balle.) 

ST.  EUGIENNE,  Manche.     Eglise  is  of  the  XV  and  XVII  centuries. 

Chapelle  de  Prieure. 

ORBEC,  Calvados.     Eglise  is  of  the  XV  or  XVI  century.     (Benoist  III,  68.) 

Chapelle  de  I'Hotel-Dieu  is  of  the  commencement  of  the  XVI  century.  (Benoist 
in,  68.) 

SANCERRE,  Cher.  St.  Denis  contains  a  sacristy  of  the  XVI  century.  (De 
Kersers  VII,  70.) 

NORVILLE,  Seine-Inferieure.  iEglise  is  adorned  with  a  tower  of  the  XV  cen- 
tury.    (Benoist  I,  52.) 

SERVON,  Manche.  Eglise  was  rebuilt  in  the  XVTII  century,  and  decorated 
with  a  strange  tower.     The  ancient  gable  of  the  chevet  is,  however,  preserved,  and 

1  Or  St.  Julien.  «  Or  St.-Amand-Mont-Rond. 

415 


FLAMBOYANT   MONUMENTS 

a  fine  flamboyant  window.  The  latter,  as  is  known  from  an  inscription,  dates  from 
1526.     (De  la  Balle.) 

MONTIGNY,  Seine-Inferieure.  Eglise.  The  choir  is  of  the  XVI  and  XVII 
centuries,  the  nave  of  the  XVI.     (De  la  Balle.) 

ST.  LEGER,  Orne.     Eglise  is  in  part  of  the  XV  century.     (Benoist.) 

GREEZ-SUR-ROC,  Sarthe.  Notre  Dame.  Of  the  ancient  edifice  only  the 
XV  century  door  survives.     (Vavaseur.) 

MONTFEY,  Aube.     Eglise  is  of  the  XVI  century. 

ROUEZ,  Sarthe.     Eglise.     The  vaults  are  of  the  XVI  century. 

TILLOY,  Somme.     Eglise  of  the  XVI  century,  contains  some  ancient  glass. 

TOUROUMIE,  Orne.     St.  Gilles  contains  some  XVI  century  glass. 

VETHEUIL,  Seine-et-Oise.     Eglise  is  entirely  flamboyant  in  style. 

VILLERS-CANR'ET,  Calvados.     Eglise  is  of  the  XV  century. 

MEULAN,  Seine-et-Oise.  Eglise.  The  chapel  of  St.  Michel  is  of  the  XV  cen- 
tury, but  poorly  preserved. 

LE  GRIpipON,  Manche.     Chapelle  is  of  the  XV  century. 

MESNIL-GUILLAUME,  Calvados.  Eglise  is  of  interest  for  one  stained  glass 
window.     (Benoist  III,  66.) 

FRAMICOURT,  Somme.     Eglise  is  of  the  XV  century. 


416 


BIBLIOaRAPHIES 


BIBLIOGRAPHIES 


SCHEME   OF  CLASSIFICATION 

A.  GENERAL,  pp.  420-428. 
Sources,  pp.  420-422 

General  Historical  Accounts,  pp.  422—423. 
Books  of  Illustrations,  pp.  423—424. 
The  Transition,  pp.  424^25. 
Flamboyant,  p.  425. 
Guide-Books,  pp.  425-^26. 
French  Cathedrals,  p.  426. 
Travel  and  Description,  pp.  426-427. 
Criticism  and  Miscellanies,  p.  427. 
Ornament  (General),  p.  427. 
Ornament  (Flora),  p.  427. 
Ornament  (Polychromy),  p.  428. 
Ornament  (Tiles  and  Pavements),  p.  428. 
Ornament  (Ritualistic  Utensils),  p.  428. 
Works  of  Reference,  p.  428. 

B.  SPECIAL  WORKS,  pp.  428-438. 

I.    Works  dealing  with  Separate  Provinces,  pp.  428-430. 
(Classed  alphabetically.) 
II.     Works  dealing  with  Separate  Departements,  pp.  431-433. 

(Classed  alphabetically.) 
m.     Works  deahng  with  Separate  Bishoprics,  pp.  433-434. 

(Classed  alphabetically.) 
IV.    Works  of  Limited  Technical  or  Historic  Scope,  pp.  434-438. 
Sjmibolism,  p.  434. 
Deviation  of  Asis,  p.  435. 
Stained  Glass,  pp.  435^36. 
Sculpture,  pp.  436-437. 
Architecture  of  the  Monastic  Orders,  p.  437. 
Medieval  Master  Builders,  pp.  437-438. 
V.     Monographs  of  Several  Monuments  combined  in  One  Volume,  p.  438. 
Epone,  etc.,  p.  438. 
Noyon,  etc.,  p.  438. 
Coincy,  etc.,  p.  438. 

C.  MONOGRAPHS,  pp.  438^70. 


(Classed  alphabetically.) 


419 


BIBLIOGRAPHY 

A.    GENERAL 

SOURCES. 

J.  B.  A.  Lassus.  L'album  de  Vilars  de  Honecort.  Paris,  1858.  4to. — This  publica- 
tion of  the  original  sketch-book  of  a  XIII  century  architect  throws  much  hght  upwn  the  methods 
of  the  medieval  builders,  besides  being  an  historical  source  of  considerable  importance.  M.  Las- 
sus'  edition  was  translated  and  edited  "with  many  additional  articles  and  notes"  by  Robert 
Willis,  London,  1859.     4to. 

Sugerii.  Libellus  alter  de  consecratione  ecclesiae  sancti  Dionysii.  (The  best  edition  is: 
A.  Lecoy  de  la  Marchc,  Oeuvres  completes  de  Suger.  Paris,  Renouard,  1867,  8vo,  p.  213  fit. 
The  work  is  also  published  in  Duchesne.  Historiae  Francorum  Scriptores,  but  the  last  two  pages 
are  lacking;  it  was  printed  in  toto  by  Mabillon,  \etera  .Vnalecta,  in  1723,  and  by  Kelibien,  Rer. 
GaUic.  Script.  XIV,  312.  The  edition  by  Brial  is  incomplete.  Selections  are  published  by 
Schlo-sser,  p.  283.)  —  This  work  is  of  extraordinarj-  interest,  and  should  be  in  the  hand  of  every 
student  of  Gothic  architecture.  ^Yhile  giving  less  explicit  details  for  the  dates  of  the  construc- 
tion of  St.  Denis  than  the  "De  Rebus  in  Administratione  sua  gestis,"  the  "De  Consecratione 
Ecclesiae"  affords  even  greater  insight  into  the  spirit  and  inner  workings  of  a  XII  century 
abbey. 

Sugerii.  Liber  de  rebus  in  administratione  sua  gestis.  (The  best  publication  is:  A.  Lecoy 
de  la  !Marche,  Oeuvres  completes  de  Suger.  Paris.  Renouard,  1867.  8vo.  Printed  also  in 
Duchesne,  Historiae  Francorum  scriptores.  Vol.  IV,  p.  331  ff;  in  Migne,  Patrologia  cursus 
completus.  Series  Latina,  Vol.  186,  col.  1229.  A  selection  of  the  parts  bearing  on  archi- 
tectural historj-  is  reprinted  by  Schlosser,  p.  208.  There  are  also  many  other  editions.)  —  To- 
gether with  the  same  author's  "De  Consecratione  Ecclesiae,"  a  most  invaluable  source  for  the 
historir'  not  only  of  St.  Denis,  but  of  all  transitional  and  Gothic  architecture. 

Theophiliis.  Schedula  diversarum  artium.  —  This  work  of  an  author  probably  of  the  XII 
century  is  diWded  into  three  parts,  the  first  of  which  deals  with  painting;  the  second,  with  the 
manufacture  and  painting  of  stained  glass;  the  third,  with  metal  work.  For  the  student  of  arclii- 
tecture  the  second  part  is  especially  precious.  The  translation  by  Robert  Handrie  (Essay  on 
various  arts  by  Theophilus.  London,  1847.  Svo.)  lacks  chapters  XII,  XIII,  XIV.  The  texl, 
with  annotations  and  a  German  translation  Ijy  Albert  Lg,  is  printed  as  Vol.  VII  of  the  Quellen- 
schriften  zur  Kunstgeschichte.     Vienna,  1879.     Svo. 

Julius  von  Schlosser.  Quellenbuch  zur  Kunstgeschichte  des  abendlandischen  Mittelalters. 
Ausgewahlte  Te.\1e  des  vierten  bis  fiinfzehnten  Jahrhunderts.  Wien,  Carl  Graeser,  1896.  Svo. 
—  A  series  of  well  selected  texts. 

Thomas  Inkersley.  An  inquirj'  into  the  chronological  succession  of  the  styles  of  Roman- 
esque and  Pointed  architecture  in  France.  London,  John  Murray,  ISoO.  12°.  —  Contains  a 
valuable  collection  of  extracts  from  the  original  sources. 

Orderici  )'italis.  Ecclesiasticae  Historiae,  hbri  XTTT.  (In  Migne,  Patrologiae  cursus 
completus  .  .  .  series  Latina,  1855,  Vol.  188,  col.  9-984).  —  An  important  chronicle 
of  the  XI  and  XII  centuries.  An  English  translation  by  T.  Forester  is  pubhshed  under  the  title: 
Ecclesiastical  history  of  England  and  Normandy.     London,  1853-56.     4  vols.     12°. 

Robert  Tf'ace.  Maistre  Wace's  "Roman  de  Ron  et  des  due  de  Normandie,"  nach  den 
Handschriften  von  neuem  herausgegeben  von  Hugo  Andresen.     Heilbronn,  1S77-79.     2  vols. 

420 


A.     GENERAL 

12°.  —  A  XII  century  poem  in  the  vernacular,  containing  some  references  of  value  for  archi- 
tectural history.  There  is  an  English  translation  by  E.  Taylor:  "Master  Wace;  his  chronicle 
of  the  Norman  Conquest."     London,  1837.     8vo. 

Abbot  Guibert.  Opera  omnia  Juxta  editionem  domni  Lucae  d 'Archery  .  .  .  revocata. 
(In  Migne,  Patrologiae  cursus  completus  .  .  .  series  Latina,  1880.  Vol.  156.  —  A  source  of 
some  importance,  especially  for  the  early  building  of  St.  Germer-de-FIy.  There  is  a  French 
translation  of  "De  vita  sua"  published  under  the  title:  Abbot  Guibert;  Vie,  par  lui-meme. 
(In  Guizot,  Collection  des  memoires  relatifs  a  I'histoire  de  France,  1825,  Vols.  9,  10.) 

GuUlelmus  Pidavensis.  Gesta  Guillelmi  Ducis  Normannorum.  Published  under  title: 
Wilhelmi  Conquestoris  gesta.  (In  Migne,  Patrologiae  cursus  completus  .  .  .  series  Latina, 
1853,  Vol.  149.  William  I,  Epistolae,  col.  1217-70.  —  An  XI  century  author  and  a  source 
of  importance  for  Norman  buildings.  A  French  translation  is  published  by  Guizot  under  title: 
Guillaume  de  Poitiers,  Vie  de  Guillaume  le  Conquerant.  (In  Collection  des  memoires  relatifs 
a  I'histoire  de  France,  1826,  Vol.  XXIX,  pp.  319^39.) 

Duchesne.  Historiae  Francorum  scriptores  .  .  .  cum  epistolis  regum,  reginarum,  ponti- 
ficum.  .  .  .  Lutetiae  Parisiorum,  1636.     5  vols.     Folio.  —  A  publication  of  important  sources. 

Petrus  Damianus.  Opera  omnia.  (In  Migne,  Patrologiae  cursus  completus  .  .  .  series 
Latina.  Vol.  144-145.)  —  The  "Book  of  Gomorrah"  contains  an  expose  of  medieval 
monastic  immorality. 

Pierre  de  Celles.  (Petrus  Cellensis.)  Epistolae  et  variorum  ad  eum  169,  Libri  9.  (In 
Duchesne,  Historiae  Francorum  scriptores,  IV,  p.  462.)  —  An  important  source  for  St.  Remi 
of  Reims. 

Guillelmi  Nevbrigensis.  De  rebus  Anglicis  sui  temporis,  libri  5  .  .  .  notis  J.  Picardi. 
Paris,  1610.  4to.  —  A  XII  century  author  and  a  source  of  importance.  An  English  transla- 
tion of  certain  portions  has  been  published  by  Rev.  Joseph  Stevenson  under  the  title:  William 
of  Newburgh,  History.     (In  Church  historians  of  England,  1856,  Vol.  4,  pt.  2,  pp.  395-672.) 

Hugo  Pictavinus  Votarius.  Historia  Vizeliacensis  monasterii.  (In  D 'Archery,  Spici- 
legium,  sive,  Collectio  veterum  aliquot  scriptorum  qui  in  Galliae  bibliothecis  delituerant.  .  .  . 
Nova  editio,  Parisiis,  1723,  Vol.  II.) 

Anonymous.  Historiae  abbatorum  monasterii  Sancti  Gerniani  Autissiodorensis.  MS. 
preserved  in  the  Public  Library  of  Auxerre.  —  A  source  of  importance  for  Auxerre. 

Clarius.  Chronicon  S.  Petri.  (In  D 'Archery,  Spicilegium,  sive,  Collectio  veterum  ali- 
quot scriptorum  qui  in  Galliae  bibliothecis  delituerant.     Vol.  II.) 

Aimoinus.  Translatio  sancti  Vincentii  in  Castrense  monasterium.  (In  Mabillon,  Acta 
sanctorum  ordinis  sancti  Benedicti  "IV,  2.) 

Auct.  anon,  sub  Carolo  Calvo  vivente.  Miracula  sancti  Dionysii  ep.  Parisiensis.  (In 
Mabillon,  Acta  sanctorum  ordinis  sancti  Benedicti  III,  1.) 

Anselmi,  monachi  sancti  Remigii.  Itinerarium  Leonis  IX.  (BoUandes,  Vol.  ler  Oc- 
tobre.)  —  A  source  of  the  greatest  importance  for  the  history  of  St.  Remi  of  Reims. 

Adonis.     Marty rologium.     (In  Mabillon,  Acta  sanctorum  ordinis  sancti  Benedicti  V,  2.) 

Oojfridi,  abbatis  Vindocinensis.     Epistolae,  opuscula,  sermones.     Ed.  Sirmond. 

Anonymous.     Gesta  episcoporum  TuUensium.     (Mon.  Germ.  Hist.,  Scriptores  VIII.) 

Denis  de  Sainte  Marthe.  Gallia  Christiana  in  provincias  ecclesiasticas  distributa,  qua 
series  et  historia  archiepiscoporum,  episcoporum,  et  abbatum  Franciae  \'icinarumque  ditionum 
ab  origine  ecclesiarum  ad  nostra  tempora  deducitur.  Lutetiae  Parisiorum,  1715-1865.  16 
vols.  Folio.  —  A  most  important  secondary  source.  Vol.  X,  instrumenta,  is  especially  valu- 
able. 

Hayno,  Abbas  S.  Petri  Divensis.  Relatio  de  miraculis  b.  Mariae.  Ed.  Leop.  Delisle  in 
Bibliotheque  de  I'ficole  des  Chartes,  Ser.  V,  Tome  I,  1860,  pp.  120-39.  Also  pubhshed  by 
Bouquet,  RecueU  des  historiens  des  Gaules  et  de  la  France,  XIV,  p.  318.  There  is  a  French 
translation  by  R.  P.  D.  Planchette  published  under  the  title:  Histoire  des  miracles  qui  se  sont 
faicts  par  I'entremise  de  la  Sainte  Vierge,  dans  la  premiere  restauration  de  I'eghse  Saint  Pierre- 
sur-Dives,  environ  I'an  1140.     Tiree  d'un  ancien  manuscrit  latin  de  Haymou,  abbe  de  la  mesme 

421 


BIBLIOGRAPHIES 

abbaye.  Caen,  Poisson  le  Jeiine.  1671  [or  1674].  1'^°.  Planchette's  translation  was  reprinted 
by  De  Glaiiville  (Rouen,  1851)  with  copious  annotations.  —  Of  the  greatest  value  as  a  source 
for  St.  Pierre-sur-Dives. 

P.  Louvet.  Histoire  de  Beauvais  et  des  Antiquites  de  Beauvoisis,  1613.  8vo.  —  An  im- 
portant secondary  source  for  the  Beauvoisis. 

Dom  Pommerayc.  Histoire  de  I'eglise  cathedrale  de  Rouen.  1686.  —  A  secondarj'  source 
that  is  frequently  of  value. 

Dom  Pommeraye.  Histoire  de  I'abbaye  royale  de  St.  Ouen  de  Rouen,  par  un  religieux 
Benedictin  de  la  congregation  de  St.  Maur.     Rouen,  166:^.     Folio. 

Du  Moustier.     Xeustria  Pia.     Rothomogi,  apud  Joannem  Berthelin,  1663.     Foho. 

Gcrardo  Dttliois.     Historia  ecclesiae  Parisiensis.  —  A  source  for  St.  Gennain-des-Pres. 

Du  Moulin.     Histoire  generale  de  la  Xormandie.     1631.  —  A  secondarj'  source. 

Abbe  Pecheur.  Annales  du  diocese  de  Soissons.  Soissons,  1863-88.  8  vols.  8vo.  —  A 
very  complete  compilation  of  tlie  religious  historj-  of  Soissons,  often  valuable  as  a  source. 

Lebcuf.  L  'ancien  diocese  de  Paris.  —  An  X^^II  centurj'  author  and  tlie  first  writer 
to  treat  medieval  architecture  in  a  scientific  spirit.  The  descriptions  of  churches  contained  in 
this  book  are  often  valuable  as  showing  their  condition  before  restoration. 

Lebeuf.  Memoires  concernant  riiistoire  ecdcsiastique  d'Auxerre  et  de  son  ancien  diocese. 
Eflit.  Quantin. 

Felibien.     Histoire  de  I'abbaye  royale  de  St.  Denis.     Paris,  1706.  —  \  secondary  source. 

Pere  Legris.  Chronicon  abbatialis  canonicae  S.  Joannis  apud  Vineas  Suessionensis.  Paris, 
1619.     12°. 

Anonymous.  Promptuariimi  sacrarum  antiquitatum  Tricasinae  diocesis.  1610.  —  A 
source  for  Troyes. 

Muldrae.  Compendiosum  abbatiae  Longifwntis  Suessionensis  chronicon.  Paris,  1652. 
8vo. 

Dom  Viole,  Abbes  de  S.  Germain  d  'Auxerre.  IMS.  in  the  Library  of  Auxerre.  —  Xn  im- 
portant secondare  source  for  St.  Germain. 

J.  Pillct.     Histoire  du  chateau  et  de  la  viHe  de  Gerberoy  de  siecle  en  siecle.     1679.     4to. 

—  A  secondarj-  source  for  the  Beauvoisis. 

Brullee.     Histoire  de  1  'abbaye  royale  de  Ste.  Colombe  de  Sens. 

Brussel.  Usage  general  des  fiefs.  —  Contains  several  chapters  of  importance  for  architec- 
tural liistory. 

Jacques  du  Breuil.  Le  theatre  des  antiquites  de  Paris,  161'2.  — An  important  secondary 
source  for  the  cathedral. 

Anonymous.  Archives  historiques  du  departement  de  I'Aube.  MS.  No.  XXA^I  in  the 
Prefecture  of  Troyes.     An  important  source  for  the  architecture  of  Troyes. 

Pierre  Bonjous.  Les  fastes  antiquitez  de  Paris.  1605.  —  A  secondarj-  source  for  the  cathe- 
dral. 

Lechande  cfAnisy.     Les  anciennes  abbayes  de  Normandie.     1834.     2  vols.     8vo  and  Atlas. 

—  A  collection  of  analyses  of  18,000  charters  arranged  chronologically  with  an  index  of 
proper  names. 

A.  le  Guichcux.     Chroniques  de  Fresnay.     Le  Mans,  1877.     8vo. 
Merlet  et  Clerval.     Un  manuscrit  chartrain  du  XI  siecle. 

GEXER.\L  HISTORICAL  ACCOUNTS 

Louis  Gonse.  L'art  gothique:  1 'arcliitecture,  la  peinture,  le  decor,  la  sculpture.  Paris, 
Quantin,  no  date.  Folio.  —  .\n  elementarj-  work,  notwithstanding  certain  errors  highly  valu- 
able. 

Camille  Enlart.  Manuel  d "archeologie  franfaise.  Paris,  Alphonse  Picard  et  Fils,  1902. 
2  vols.     8vo.  —  A  comprehensive  manual,  remarkably  acciuate. 

A  de  Caumont.  Abecedaire  ou  rudiment  d'archeologie.  5me  ed,  Caen  E.  Le  Blanc- 
Hardel,  1886.      3  vols.     8vo.  —  A  work  tliat  is  still  of  value. 

4^22 


A.     GENERAL 

A.  de  Caumont.  Cours  d 'antiquites  monumentales.  Histoire  de  I'art  dans  I'ouest  de  la 
France.  Paris,  Lance,  1835.  6  vols.  8vo.  —  The  works  of  this  author,  epoch-making  in 
their  day,  are  now  somewhat  out  of  date. 

A.  de  Caumont.  Histoire  sonimaire  de  I  'architecture  religieuse,  miHtaire,  et  civile  au  moyen 
age.     Caen,  1836. 

Edoiiard  Corroyer.  L 'architecture  gothique.  Bibliotheque  de  1 'enseignement  des  Beaux- 
Arts.  Paris,  Quantin,  [1891].  12°.  Translated  by  Walter  Armstrong  under  title:  Gothic 
architecture.     New  York,  Macmillan,  1893.  —  Misleading. 

Edouard  Corroyer,  L 'architecture  romane.  Bibliotheque  de  1 'engeignement  des  Beaux- 
Arts.  Paris,  Quantin,  1888.  12°.  —  A  good  elementary  text-book,  although  the  author's 
theory  of  the  origin  of  the  rib  vault  is  untenable. 

A.  de  Cawmoni.  Aper9U  sur  le  synchronisme  de  I'arehitecture  romane  ou  byzantine  dans 
les  provinces  de  France.     (In  Bulletin  monumental.  Vol.  5,  pp.  474-86.) 

Wilhelm  Liihhe.  Der  gothische  styl  und  die  NationaHtaten.  (An  essay  in  the  author's 
Kunsthistorische  Studien.  Stuttgart,  Ebner  und  Seubert,  1869.  8vo.)  —  A  sane  and  readable 
essay. 

J  vies  Quicherat.  De  1 'architecture  romane  (Revue  archeologique  VIII,  145;  IX,  525; 
X,  651;  XI,  668;  1851-54.) 

Jvies  Quicherat.  De  I'ogive  et  de  I'arehitecture  dite  ogivale.  (Revue  archeologique 
VII,  65;  1850.) 

Jtdes  Quicherat.  Cours  d  'archeologie  franfaise  du  moyen  age.  (Journal  general  de  1  'in- 
struction publique  XXII,  322;  1853.) 

Jules  Quicherat.  L 'architecture  romane.  Le9on  recueiUie  par  Aug.  Kroeber.  (Revue 
des  societes  savantes  III,  641;  1857.) 

MeriTnee,  Lenoir  et  als.  Architecture  gallo-romaine  et  architecture  du  moyen  age.  In- 
structions du  comite  historique  des  arts  et  monuments.  Paris,  Imprimerie  imperiale,  1857. 
4to.  —  Out  of  date. 

T.  B.  Emeric-David.  Memoire  sur  la  denomination  et  les  regies  de  I'arehitecture  dite 
gothique.  (Bulletin  monumental  V,  382;  1839.) — A  superficial  sketch  of  medieval  architec- 
ture in  France. 

Leon  Chateau.  Histoire  et  caracteres  de  1  'architecture  en  France  depuis  I'epoque  druidique 
jusqu  'a  nos  jours.  Paris,  Morel,  1864.  12°.  —  An  excellent  little  book  in  its  day,  now,  of  course, 
behind  the  times. 

Paul  LacroLx.  Les  arts  au  moyen  age  et  a  I'epoque  de  la  Renaissance.  Paris,  Didot, 
1873.     4to. 

J.  J.  Bourasse.  Archeologie  chretienne,  ou  precis  de  1 'histoire  des  monuments  reUgieux 
du  moyen  age.     Tours,  1841. 

Qiuitremere  de  Quincy.  Histoire  de  la  vie  et  des  ouvrages  des  plus  celebres  architectes 
du  XI  siecle  jusqu'a  la  fin  du  XVIII.     Paris,  1830.     2  vols.     4to. 

Whittington.  An  historical  survey  of  the  ecclesiastical  antiquities  of  France.  London, 
Taylor,  1809.  4to.  —  For  its  date  a  surprisingly  advanced  work,  although  of  course  it  contains 
many  errors. 

Aug.  Carin.     Cours  d 'archeologie  fran^aise  du  moyen  age.     1853. 

Joseph  Bard.  Manuel  general  d  'archeologie  sacree  Burgundo-Lyonnaise.  Lyon,  Guyot, 
1844.     8vo.  —  Contains  a  poor  bibEography. 

L.  Batissier.     Elements  d 'archeologie  nationale.     Paris,  Leleux,  1843. 

Herbe.  Histoire  des  beaux-arts  en  France  par  les  monuments,  specialement  de  la 
sculpture  et  de  la  peinture.  Paris,  Auguste  Gamier  et  als,  [1842].  Folio.  —  Of  very  little 
value. 

BOOKS  OF  ILLUSTRATIONS 

Anonymous.  Archives  de  la  Commission  des  Monuments  Historiques,  publies  sous  le 
patronage  de  1 'administration  des  beaux-arts.     Paris,  Laurens,  no  date.     5  vols.     Folio.  —  A 


BIBLIOGRAPHIES 

collection  of  measured  drawings  of  great  value,  though  in  many  cases  greater  accuracy  and 
more  details  could  be  desired. 

Cornelius  Ourlitt.  Die  Baukunst  Frankreichs.  Dresden,  Gilbers'sche  Verlagsbuchhand- 
Iimg,  1900.     2  vols.     Folio.  —  Superb  plates. 

Robert  J.  Johnson.  Specimens  of  early  French  architecture.  Newcastle-upon-Tyne, 
Johnson,  1864.  Folio.  —  A  hundred  accurate  drawings  of  well  selected  monuments  of  the  tran- 
sitional period,  the  more  valuable  that  they  were  made  in  many  cases  before  modem  restorations 
had  been  executed. 

A.  de  Baudot,  figlises  de  bourgs  et  villages.  Paris,  A.  Morel,  1867.  2  vols.  Folio.  — 
The  aim  of  this  work  is  primarily  practical,  but  many  of  the  beautiful  drawings  are  helpful  to 
the  archaeologist. 

C.  Peigne.  Monuments  historiques  de  France.  Paris,  Ed.  Monnier  et  Cie.,  [1886-87]. 
Folio.  —  Fine  photogravures. 

E.  D.  Baldus.  Les  monuments  principaux  de  la  France.  Paris,  1875.  Folio.  —  Fine 
croquis  of  a  miscellaneous  character. 

F.  Ewerbeck.  Architectonische  Reiseskizzen  aus  Deutchland,  Frankreich,  und  Spanien, 
eine  Sammlung  mittelalterlicher  Baudenkmiiler  nebst  Details.     Hannover,  1865.     Folio. 

Hubert  Slier.  Aus  meinera  Skizzenbuch;  architektonische  Reisestudien  aus  Frankreich. 
Stuttgart,  Konrad  ^ittwer  [1885-89].  Folio.  —  Tolerably  accurate  sketches  of  various  build- 
ings of  the  medieval  and  other  epochs. 

Alexandre  de  Labordc.  Les  monumens  de  la  France,  classes  chronologiquement  et  con- 
sideres  sous  le  rapport  des  fails  historiques  et  de  I'etude  des  arts.  Paris,  Jules  Didot  Aine, 
1816-36.  2  vols.  Folio.  —  A  series  of  engravings  of  monuments  of  the  Roman,  Romanesque, 
and  Gothic  periods.  The  drawings  are  more  remarkable  for  size  and  number  than  for 
accuracy,  but  are  often  valuable  in  showing  the  condition  of  monuments  before  restora- 
tion. 

F.  G.  T.  B.  de  Jolimeni.  Vues  pittoresques  des  cathedrales  de  Paris,  Amiens,  Orleans, 
Reims,  Strasbourg,  Sens,  Au.\erre,  Chartres,  Aries,  Albi,  Dijon,  Autun,  Senlis,  et  details  remar- 
quables  de  ces  monuments  dessines  par  Chapui.     Paris,  1826-31.     Folio. 

J.  Coney.  Engra\ings  of  ancient  cathedrals  .  .  .  and  other  public  buildings  in  France, 
Holland,  Germany,  and  Italy.  London,  Henry  G.  Bohn,  1842.  Folio.  —  A  series  of  engravings 
more  valuable  as  works  of  arts  than  as  archaeological  data. 

W.  E.  Nesficld.  Specimens  of  medieval  architecture  chiefly  selected  from  examples  of 
the  XII  and  XIII  centuries  in  France  and  Italy.  London,  Day  &  Son,  1862.  Folio.  —  A 
collection  of  drawings  of  average  merit. 

E.  Lecont.     Choix  de  monuments  eriges  en  France  dans  les  XII,  XIH,  XTV,  et  XV  siecles. 

Charles  Wild.  Select  examples  of  architectural  grandeur  in  Belgium,  Germany,  and 
France.  24  sketches  etched  by  John  Le  Keux  and  other  artists.  London,  Bohn,  1843.  —  Mis- 
cellaneous croquis  with  descriptive  text.     Of  slight  value. 

Charles  Wild.  Twelve  etched  outlines,  selected  from  architectmul  sketches  made  in  Bel- 
gium, Germany,  and  France.     London,  C.  Wild,  1833.     Folio.  —  A  selection  of  the  above. 

Lagier  de  Vangclas.  Soixante  \'ues  des  plus  beaux  palais,  monuments,  et  eglises  de  Paris, 
cathedrales  et  chateaux  de  la  France.     Paris,  Vilquin,  [1818].  —  Worthless. 

THE  TRANSITION 

E.  Lefevre-Pontalis.  L 'architecture  religieuse  dans  I'ancien  diocese  de  Soissons  au  XI  et 
au  XII  siecle.  Paris,  Plon,  1894.  Folio.  2  vols.  —  However  much  one  maj'  feel  inclined  to 
differ  with  certain  conclusions  here  reached,  this  work  remains  the  most  scholarly  and  impor- 
tant contribution  to  the  hterature  of  the  transitional  period. 

C.  Enlart.  Monuments  religieux  de  1  'architecture  romane  et  de  la  transition  dans  la  region 
Picarde.  Amiens,  Yvert  et  Tellier,  and  Paris,  A.  Picard  et  Fils,  1895.  Foho.  —  An  excellent 
and  important  work. 

Anthyme   St.   Paul.     La  transition.     (In    Revue    de  I'art  chretien,   1895-96,  Vol.  44, 

424 


1 


A.     GENERAL 

pp.  470-82;  Vol.  45,  pp.  1-20;  97-107.)  —  An  authoritative  work,  written  in  a  style  of  great 
charm. 

C.  H.  Moore.  Development  and  character  of  Gothic  architecture.  New  York,  Mac- 
millan's.  Second  edition,  rewritten  and  enlarged,  1904.  —  An  admirable  study  of  Gothic  con- 
struction. 

Qustav  von  Bezold.  Die  Entstehung  und  Ausbildung  der  gothischen  Baukunst  in  Frank- 
reich.  Beitrage  zur  Denkmalkmide  und  zur  Entwicklmigsgeschichte  des  Stils.  (In  Zeitschrift 
fur  Bauswesen,  Jahrgang  XLI,  1891,  p.  162  f .)  —  An  important  and  conscientious  study  of 
certain  transitional  and  early  Gothic  monuments. 

Anthyme  St.  Paid.  Simple  memoire  sur  1  'origine  du  style  ogival.  (Bulletin  monumental. 
Vol.  41,  1875,  p.  5.)  —  A  suggestive  essay. 

Eug.  J.  Woillez.  Arcbeologie  des  monuments  rehgieux  de  I'ancien  Beauvoisis  pendant 
la  metamorphose  romane.  Paris,  Derache,  1839— ig.  Folio.  —  A  scholarly  pubhcation  of  the 
Romanesque  and  transitional  buildings  of  the  diocese  of  Beauvais,  illustrated  by  many  meas- 
ured drawings.  Still  most  helpful,  though  Woillez  was  unable  to  determine  the  chronology  of 
the  monuments  of  which  he  wrote.  ' 

O.  Dehio.  Die  Anf ange  des  gothischen  Baustils ;  zur  Kritik  des  gegenwartigeu  Standes  der 
Frage.  (Repertorium  fiir  Kunstwissenschaft  XLX,  1896,  p.  169.)  —  A  sane  and  stimulating 
paper,  with  a  clear  re^^ew  of  the  points  still  at  issue. 

Louis  Regnier.  Les  origines  de  1 'architecture  gothique.  (Memoires  de  la  societe  his- 
torique  de  Pontoise,  1895,  tome  XVI,  p.  124.) 

Eug.  J.  Woillez.  De  I'apparition  de  I'ogive  dans  les  monuments  rehgieux  de  I'ancienne 
Picardie.     (Memoires  de  la  societe  des  antiquaires  de  Picardie,  tome  IX,  1848,  p.  279.) 

E.  Lefevre-Pontalis.  Les  origines  des  gables.  (Bulletin  mommiental  LXXI,  1907,  p.  92.) 
—  An  excellent  study. 

JiUes  Quicherat.  La  croisee  d 'ogives  et  son  origine.  (Melanges  d 'archeologie  et  d'his- 
toire;  tome  11,  p.  497.) 

A.  Essenwein.  Die  Entwicklung  des  Pfeiler  und  Gewolbesystems  in  der  kirchlichen  Bau- 
kunst bis  zmn  Schluss  des  XIII  Jahrhunderts.     Jahrbuch  der  Centr.-Comm.,  1858 

De  Sidney-Hewkins.  Recherches  sur  1  'origine  et  1  'etabhssement  de  1  'architecture  a  ogives 
et  sur  la  peinture  sur  verre. 

Felix  de  Verneilh.  Sur  les  origines  de  I'art  ogival  et  I'art  roman.  (Bulletin  monumental. 
Vol.  21,  1855,  pp.  105-125.)  —  A  polemic  on  the  origin  of  the  pointed  arch.  Of  shght  interest 
to-day. 

Dieidafoy.  Les  origines  de  1 'architecture  du  moyen  age  et  ses  rapports  avec  I'architec- 
ture  perse.     Conference  faite  le  24  mars,  1887,  a  la  Societe  Centrale  des  Architectes. 

FLAMBOYANT 

C.  Erdart.  Origine  anglaise  du  style  flamboyant.  (Bulletin  monumental,  1906,  tome 
LXX,  p.  38.)  —  The  best  study  of  the  origins  of  the  flamboyant  style  that  has  yet  ap- 
peared. 

A.  St.  Paul.  L 'architecture  religieuse  en  France  pendant  la  Guerre  de  Cent  Ans. 
(Bulletin  monumental,  LSVII,  1908,  p.  5.)  — A  controversial  article  that  brings  forward  few 
new  facts. 

A.  St.  Paul.     Les  origines  du  gothique  flamboyant  en  France.     Caen,  1907. 

C  Entart:  Origine  anglaise  du  style  flamboyant.  London,  Harrison,  1906  (Reprint 
from  Archaeological  Journal  LXIII)  and  Caen,  Delesques,  1906  (Reprint  from  Bulletin 
Monumental).  — A  reply  to  M.  St.  Paul.     The  two  editions  dhfer  sUghtly. 

R.  Willis.  On  the  characteristic  interpenetrations  of  the  flamboyant  style.  (In  Transac- 
tions of  the  Royal  Institute  of  British  Architects,  Vol.  I,  Part  II,  1842,  p.  81.)  —  A  valuable  study. 

GUIDE-BOOKS 

Adolphe  Joamie.     Itineraire  general  de  la  France.     Paris,  Kachette  et  Cie.,  1880,  1890, 

425 


BIBLIOGRAPHIES 

etc.,  20  vols.  16°.  —  All  things  considered  the  most  satisfactory  of  the  gmde-books.  Each 
volume  comprises  a  diWsion  of  territorj'  roughly  corresponding  to  one  of  the  proWnces. 

Adolplie  Joanne.  Geographic  des  departenients.  Paris,  Hachette  et  Cie.,  9me  edition, 
1903.  16°.  —  A  separate  volume  for  each  departement.  A  more  concise  and  portable  work 
than  the  Itineraire  general. 

Karl  Bddcker.  Northern  France.  Belgium  and  the  English  channel  to  the  Loire,  exclu- 
ding Paris  and  its  en\irons.  Handbook  for  travelers.  —  This  guide,  too  well  known  to  call 
for  comment,  is  published  in  German,  French,  and  English,  and  constantly  kept  up  to  date 
by  new  editions. 

John  Murray.  Handbook  for  travelers  in  France.  London,  John  Murray,  1847,  etc. 
12°.  —  Leaves  much  to  be  desired  from  an  arcliiteetural  standpoint. 

O.  de  St.  Fargeau.  Guide  pittoresque  du  voyageur  en  France.  Paris,  Firmin-Didot 
1838.     6  vols.     8vo.  —  One  of  the  earliest  of  the  guide-books  worthj'  of  the  name. 

Anonymous.  Le  conducteur  franfais.  Paris,  Serin,  1777-79.  3  vols.  —  A  guide-book 
of  the  X\T[I  century. 

FRENCH  CATHEDRALS 

A.  de  Baudot  et  Perraulf.  Les  cathedrales  de  la  France.  Paris,  H.  Laurens.  In  course 
of  publication.     2  vols.  4to. 

Arthur  Loth.     Les  cathedrales  de  France.     Paris,  Librairie  Renouard,  1900.     Folio. — 
The  plates  are  good,  but  the  text  leaves  much  to  be  desired. 

J.  Barr  Ferree.  The  chronology  of  the  cathedral  churches  of  France.  New  York,  1894. 
8vo.  —  Contains  a  bibliography  and  a  certain  amount  of  condensed  information.  Reprinted 
from  the  Architectural  Record. 

J.  J.  Bourasse.  Cathedrales  de  France.  Tours,  Ad.  Mame  et  Cie.,  1843.  8vo.  —  An 
excellent  little  book  in  its  day. 

Ephiphanius  Wilson.  Cathedrals  of  Prance.  Popular  studies  of  the  most  interesting 
French  cathedrals.  New  York,  The  Churchman  Company,  1900.  Foho.  —  The  illustrations 
are  fair;  the  te.xt  is  of  no  value. 

./.  Barr  Ferree.  The  cathedrals  of  France.  New  York,  1895.  8vo.  Reprinted  from 
The     Cosmopolitan  Magazine  for  Januarj-,  1895.  —  Worthless. 

B.  Winkks.  French  cathedrals.  From  drawings  by  R.  Garland.  London,  Charles 
Tilt.  1837.     Folio.  —  The  engravings  are  artistic  but  very  inaccurate. 

TRAVEL  AND  DESCRIPTION 

Nodier  et  Taylor.  Voyage  dans  I'ancienne  France.  Paris,  Firmin-Didot,  1845.  20  vols. 
Folio.  —  A  monumental  work,  chiefly  valuable  to-day  for  the  drawings  which  were  often  made 
before  modem  restorations  had  been  executed. 

A.  St.  Paul.     A  travers  les  monuments  historiques.     (Bulletin  monumental,  1877.) 

E.  du  Sommerard.     Les  monuments  historiques  de  France.     Paris,  1876. 
IT'.  G.  Davie.    Architectural  studies  in  France.     London,  1877.     Folio. 

A.  Robida.  La  \ieille  France.  Texte,  dessins  et  lithographies.  Paris,  Librairie  Illustree, 
no  date.  —  A  single  volume  is  devoted  to  each  province.  Distinctly  a  work  of  inferior 
merit. 

Tavemier  et  Nee.  Voyage  pittoresque  de  la  France.  Paris,  1792.  10  vols.  Foho.  — 
"Contient  les  dessins  de  plusieurs  edifices  religieux  aujourd'hui  disparus."      (Lefevre-Pontahs.) 

Thomas  Bielcman.  Four  letters  on  the  ecclesiastical  arcliitecture  of  France.  (Archaeo- 
logia  XXV,  1833,  p.  159;  XXVI,  1834,  p.  26.)  —  An  early  account  of  the  architecture  of  Nor- 
mandy through  English  eyes. 

F.  C.  Brown.  A  journey  in  search  of  the  picturesque.  (In  Architectural  Review  V,  1903, 
p.  13,  etc.)  —  A  mediocre  account  of  travels  in  England  and  France. 

Vitet.    Histoire  des  anciennes  viUes  de  la  France. 

J.  F.  Hunnewell.    The  historical  monuments  of  France.     Boston,  1884. 

426 


A.     GENERAL 

G.  C.  de  Medelsheim.  L 'architecture  en  France.  Paris,  Jouvet  et  Cie.,  1883.  12°.  — 
Worthless. 

James  M.  Hoppin.  Great  epochs  in  art  history.  Boston  and  New  York,  Houghton, 
Mifflin   &  Co.,  1903.  —  Contains  an  article  (without  scientific  value)  on  early  French  Gothic. 

Arisiide  Guilbert.  Histoire  des  \'illes  de  France.  Paris,  Fume  et  Cie,  1848.  6  vols.  4to. 
—  Contains  a  few  scraps  of  out-of-the-way  historical  information  of  value  to  the  archaeologist. 

Goze.     Eglises,  chateaux,  beflrois. 

Th.  FrognaU  Dibdin.  A  bibliographical,  antiquarian,  and  picturesque  tour  in  France 
and  Germany.     London,  1821.     3  vols.     Svo.     A  second  edition  appeared  in  1829. 

AUom  and  Wright.  France  illustrated.  London,  Fisher,  Son  &  Co.  [1847].  4to.  — 
Contains  poor  engravings  of  miscellaneous  subjects. 

Rev.  J.  L.  Petit.  Architectural  studies  in  France.  London,  George  Bell,  1854.  4to.  — 
Of  little  value. 

Louis  Barron.  Les  fleuves  de  France.  I.  La  Loire;  11.  La  Seine;  III.  La  Garonne; 
IV.     Le  Rhone.     Paris,  Librairie  Renouard,  1888.     8vo.  —  Mediocre. 

Rev.  H.  H.  Bishop.  Pictorial  architecture  of  France.  London,  Society  for  Promoting 
Christian  Knowledge,  1893.     4to.  —  Worthless. 

CRITICISM  AND   MISCELLANIES 

Anthyme  St.  Paid.     VioUet-le-Duc  et  son  systeme  archeologique.     Tours,  1881. 

Anthyme  St.  Paul.  L  'archeologie  du  moyen  age  et  ses  methodes.  (Revue  de  1  'art  chretien, 
48me  Annee,  1905,  pp.  145,  233.)  —  A  suggestive  essay. 

Francis  Bond.  Classification  of  Romanesque  architecture.  (In  Royal  Institute  of  Brit- 
ish Architects,  Journal  1901,  ser.  3,  Vol.  8,  pp.  269-291.)  —  An  attempt  to  classify  the  vari- 
ous schools  of  French  Rornanesque. 

Jides  Helbig.  L 'architecture  religieuse  de  I'ancien  diocese  de  Soissons  au  XI  et  au  XII 
siecle,  par  Eugene  Lefevre-Pontahs.     (Re\'ue  de  I'art  chretien,  1894,  tome  43,  p.  495.) 

Eustache-Hyadnthe  Langkds.  Extrait  de  quelques  considerations  generales  sur  les  mon- 
uments gothiques.     (In  Archives  de  la  Normandie,  Vol.  II,  p.  133  f.)  —  Unimportant. 

BrutaUs.  L 'archeologie  du  moyen  age  et  ses  methodes.  Paris,  Picard,  1900.  8vo. — 
The  philosophy  of  archaeology. 

L.  Cloquet.  L'art  de  batir  chez  les  paiens  et  chez  les  chretiens.  Conference  faite  a  la 
distribution  des  prix  de  1  'ecole  de  St.  Luc  a  Liege.  (In  Revue  de  1  'art  chretien  XXXV,  1902, 
p.  201.) 

George  Martin  Huss.  Rational  building,  a  translation  of  the  article  "Construction"  in 
the  " Dictionnaire  raisonne  de  I'architecture  franipaise"  of  VioUet-le-Duc.  New  York,  Mac- 
millan,  1895. 

S.  Beale.  Roman  and  Romanesque  France.  (In  American  architect  and  building  news, 
1902-04,  Vols.  76-80,  84.) 

ORNAMENT  1  (GENERAL) 

LechevaUier-Cheirignard.  Les  styles  fran^ais.  Paris,  Librairies-Imprimeries  Reunies, 
1892.     Svo.  —  An  excellent  manual  of  decorative  art. 

ORNAMENT  (FLORA) 

Daniel  Ramee  Sculptures  decoratives;  motifs  d 'ornamentation  recueillis  en  France, 
Allemagne,  Italic,  et  Espagne,  dans  les  plus  beaux  monuments  du  douzieme  au  seizieme  siecle. 
Paris,  Librairie  d  'Architecture,  1860.  2  vols.  Folio.  —  A  valuable  collection  of  drawings  of 
details. 

tlmile  Lamhin.  La  flore  sculpturale  du  moyen  age.  (Gazette  des  Beaux-Arts,  1899,  ser.  3, 
XXI,  291,  431.)  —  A  suggestive  study. 

'  For  stained  glass  and  figure  sculpture  see  injra,  pp.  435-437. 

427 


BIBLIOGRAPHIES 
ORNA^IENT  (POLYCHROMY) 

V 

Louis  Courajod.  La  polychromie  dans  la  statuaire  du  mojen  age  et  de  la  Renaissance. 
Paris,  1888. 

ORNAMENT   (TEl-ES  AND  PAVEIMENTS) 

Prosper  Tarbe.  St.  Renii  de  Reims,  dalles  du  XIII  siecle.  Reims,  Assy  et  Cie.,  1867. 
Folio.  —  A  publication  of  important  examples  of  medieval  tiling. 

J.  Chappee.  Le  carrelage  de  I'abbaye  de  Champagne,  d'apres  les  paves  retrouvcs  sur 
I 'emplacement  du  choeur  de  I'cglise  de  cette  abbaye.  (Revue  historique  et  archeologique  du 
Maine,  tome  XLIV,  1898,  p.  26.)  —  An  adequate  publication. 

£m&  Ame.  Les  carrelages  emailles  du  moyen  age  et  de  la  Renaissance,  precedes  de  I'his- 
toire  des  anciens  pavages,  mosaiques,  labyrinthes,  dalles  incrustees.  Paris,  A.  Morel  et  Cie, 
1859. 

ORNAMENT   (RITUALISTIC  UTENSII-S) 

A.  W.  Piigin.  Glossary  of  ecclesiastical  ornament  and  costiunc.  London,  Quaritch, 
1868.     Folio.  —  Studies  in  the  utensils  of  the  ritual. 

A.  N.  Didron.  Ameublement  et  decoration  dcs  eglises.  (Annales  archeologiques.  Vol.  4, 
p.  1.) 

WORKS  OF  REFERENCE 

De  Lasleyric  et  Lcjevre-Ponialis.  Biblingraphie  des  travaux  historiques  et  archeologiques 
publics  par  les  societes  .savantcs.     Paris,  Iniprimerie  Nationale,  1888.     4to. 

Ch.  Bauchal.  Nouveau  dictionnaire  biographique  et  critique  des  architectcs  fran^ais. 
Paris,  1887.     8vo. 

Anonymous.  Carte  des  monuments  historiques  de  France,  indiquant  les  ecoles  d'art  du 
territoire  fran<;'ais  pendant  la  premiere  moitie  du  XII  siecle. 

Adnlphc  Lance.     Dictionnaire  dcs  architcctes  fran9ais. 

B.    SPECIAL   WORKS 

I.    ^^ORKS  DEALING  WITH  SEPARATE  PROVINCES 
BERRY 

Biilwt  de  Kersers.  Essai  sur  I'architecturc  religieuse  en  Berry.  (Memoires  de  la  societe 
des  antiquaires  du  Centre,  1869,  3me  volume,  p.  91.)  —  Contains  valuable  data. 

Buhot  de  Kersers.  Caracteres  de  I'architecturc  religieuse  en  Berry  a  I'epoque  romane. 
(Bulletin  archeologique  du  Comite  des  Travaux  Historiques  et  Scientifiques,  1890,  p.  25.) 

Champeau.r  et  Gauchery.  Les  travaux  d'art  executes  pour  Jean  de  France,  due  de  Berrj'. 
Paris,  Champion,  1894.     Folio.  —  Only  in  part  on  architecture. 

Touring  Club  de  France.  A  la  France,  sites  et  monuments.  Le  Centre  de  la  France,  Al- 
licr,  Cher,  ludre.  Paris,  Touring  Club  de  France,  1905.  4to.  —  Of  no  value,  except  for  the 
half-tones. 

BURGUNDY 

A.  de  Caumont.  Rapport  verbal  sur  une  excursion  archeologique  au.x  en%-irons  d 'Orleans 
et  en  Bourgogne.     (Bulletin  monumental.  Vol.  XVIII,  1852,  p.  225.)  — Notes  of  travel. 

CHAMPAGNE 

E.  Lefeire-Pontalis.  L 'architecture  gothique  dans  la  Champagne  meridionale  au  XIII 
ct  au  XIV  siecle.     (Congres  archeologique  de  Troj'cs,  1902.) 

A.  Gaussen.  Portefeuille  archeologique  de  la  Champagne.  Bar-sur-Aube,  Jardeaux- 
Ray.     Folio.  —  Colored  drawings  of  stained  glass  and  church  furniture. 

428 


B.     SPECL4L  WOEKS 

]VL\1NE 

Ouenet.  Le  Maine  illustre.  Le  Mans,  Imprimerie  Sarthoise,  1902.  4to.  —  "Presente 
plutot  un  caractere  de  \Tilgarisation  interessante  que  d'erudition  pure." 

Wisrnes.  Le  Maine  et  I'Anjou,  historiques,  archeologiques,  et  pittoresques.  Paris,  Au- 
guste  Bry,  no  date.  2  vols.  Folio.  —  Notwithstanding  many  inaccuracies  is  valuable  for  the 
descriptions  of  several  little  known  monuments. 

Bouveret.  Vues  des  monuments  du  ^Maine.  Le  Mans,  Bouveret,  1900. — A  series  of 
albums  of  photographic  \'iews,  each  album  sold  separately. 

Touring  Club  de  France.  A  la  France.  Sites  et  monuments.  Bretagne  orientale  et 
Maine.  (Ule-et-Vilaine,  Mayenne,  Sarthe.)  Paris,  Touring  Club  de  France,  1902.  4to.  — 
Of  little  value  except  for  the  illustrations  in  half-tone. 

NOR^MANDY 

De  la  Balle  et  als.  La  Normandie  monumentale  et  pittoresque,  edifices  publics,  eglises, 
chateaux,  manoirs,  etc.  In  five  parts  of  two  volumes,  each  part  published  separately  and 
devoted  to  one  of  the  departments,  Seine-Liferieure,  Calvados,  Eure,  Orne,  Manche.  I./e 
Havre,  Lemale  et  Cie,  1895.  Folio.  —  A  monumental  work  of  high,  though  somewhat 
uneven,  merit.  The  various  descriptions  of  separate  monuments  and  towns  are  sold  individ- 
ually as  monographs. 

Ruprich-Robert.  L  'architecture  normande  aux  XI  et  XII  siecles  en  Normandie  et  en 
Angleterre.  Paris,  Librairie  des  Imprimeries  Reunies,  [1885-87].  —  The  standard  work  on 
Norman  architecture,  although  the  sections  devoted  to  the  Anglo-Norman  style  are  imsatisfac- 
tory  and  the  text  contains  certain  inaccuracies  and  contradictions.  The  plates,  however,  are 
invaluable. 

Felix  Benoist  et  als.  La  Normandie  illustree;  monuments,  sites,  et  costumes.  Nantes, 
Charpentier  Pere,  Fils,  et  Cie,  1852.  2  vols.  FoHo.  —  Text  of  unequal  merit,  illustrated  with 
drawings  of  little  practical  value  for  the  archaeologist. 

Pugin  and  Le  Keux.  Architectural  antiquities  of  Normandy.  London,  1827.  4to.  A 
new  edition  edited  by  R.  Phene  Spiers,  under  title:  Specimens  of  the  architecture  of  Normandy, 
from  the  XI  to  the  XVI  century.  London,  Blackie  &  Son,  1874.  4to.  —  These  drawings  are 
still  valuable. 

John  Sell  Cotman.  Architectural  antiquities  of  Normandy,  represented  and  illustrated 
in  a  series  of  one  hundred  etchings  .  .  .  accompanied  by  historical  and  descriptive  notices  by 
Dawson  Turner.  London,  John  &  Arthur  Arch,  1820-21.  Folio.  A  French  edition  (prefer- 
able) with  text  by  Paul  Louisj'  was  published  at  Paris,  Librairie  Centrale  des  Beaux-Arts,  1881. 
Folio.  —  Cotman's  plates  are  still  of  value,  especially  for  buildings  and  details  that  have  since 
been  destroyed. 

[Dawson  Turner'].  Account  of  a  tour  in  Normandy  undertaken  chiefly  for  the  purpose  of 
investigating  the  architectural  antiquities.  London,  John  and  Arthur  Arch,  1820.  2  vols. 
4to.  —  A  work  whose  day  of  usefulness  has  passed. 

Leon  le  Cordier.  L  'architecture  de  la  Normandie  au  XIII  siecle.  (In  Bulletin  Monumen- 
tal, Vol.  29,  1863,  p.  513.)  — A  suggestive  criticism  of  Gothic  architecture  in  Normandy. 

A.  Coltee  Ducarel.  Anglo-Norman  antiquities  considered  in  a  tour  through  part  of  Nor- 
mandy. Illustrated  with  twenty-seven  plates.  London,  Spilsbury,  1767.  French  translation 
has  been  pubHshed  by  A.  L.  Lechande  d'Anisy.  Caen,  Mancel,  1823.  8vo.  —  Of  Uttle  value 
to-day. 

Regnier.     A  travers  la  Normandie.     Notes  et  observations  archeologiques. 

Anonymous.  The  small  churches  of  Normandy.  (The  Brochure  Series  II,  1896,  p.  17.) 
—  Reproductions  of  a  number  of  little  known  parish  churches  of  Normandy. 

Jules  Quiclierat.  Rapport  sur  les  memoires  de  la  societe  des  antiquaires  de  Normandie. 
(Revue  des  societes  savantes,  3me  serie,  IV,  1864,  p.  258.) 

H.  0.  Knight.  An  architectural  tour  in  Normandj',  •nith  some  remarks  on  Norman  archi- 
tecture.    Second  edition,  London,  John  Murray,  1841.     12°.  —  Of  very  sUght  value.     A  French 

429 


BIBLIOGRAPHIES 

translation,  piiljlishcd  in  the  Bulletin  monumental.  Vol.  IV,  1838,  p.  44,  is  supplied  %vith  anno- 
tations by  De  Cauraont. 

Edith  A.  Browne.  Great  buildings  and  how  to  enjoy  them.  Norman  architecture.  New 
York,  Macmillan,  1007.     8vo. 

Louis  de  Bois.  Archives  annuelles  de  la  Normandie,  historiques,  monumentales,  etc. 
Caen,  Mancel,  1834-25.  —  Only  the  first  two  volumes  have  ever  been  published.  These  con- 
tain a  few  articles  of  interest. 

Joanne.  Guide  de  la  Normandie.  Paris,  Hachette  &  Cie,  1897.  12°.  —  On  the  whole 
the  best  of  the  guide-books  of  Normandy,  although  leaving  much  to  be  desired  from  an  archi- 
tectural standpoint. 

De  Beaurcpaire,  De  Caumonf,  et  ah.  Memoires  historiques  sur  la  Normandie.  Anti- 
quites,  monuments,  histoire.  —  A  work  compiled  from  the  Memoires  des  antiquaires  de  Nor- 
mandie,  1827-36. 

Gillot.     La  Normandie  pittoresque  et  monumentale.     1900.     8vo. 

Touring  Club  de  France.  A  la  France,  sites  et  monuments.  Vols.  X.  XI,  La  Normandie. 
Paris,  Touring  Club  de  France,  1902.     4to.  —  Some  of  the  half-tones  are  valuable. 

Jules  Janin.  La  Normandie.  Paris,  Ernest  Bourdin,  no  date.  8vo.  —  A  political  liis- 
tory  of  the  province,  with  some  insufficient  notices  of  its  monuments. 

James  Hairhy.  Rambles  in  Normandy.  London,  Artliur  Hall,  Virtue  &  Co.  [1846].  — 
An  agreeably  written  book  of  travel  without  scientific  value. 

Katherine  S.  Macquoid.  Through  Normandy.  London,  Isbister  &  Co.,  1874.  12°.  — 
A  gossipy  book  of  travel,  of  no  value  from  an  architectural  standpoint. 

ORLfiANNAIS 

Touring  Club  de  France.  A  la  France,  sites  et  Monuments.  L'Orleannais,  Eure-et- 
Loire,  Loire-et-Cher,  Loiret.  Paris,  Touring  Club  de  France,  1901.  4to.  —  Of  little  value 
except  for  the  half-tones. 

PICARDY 

C.  Enlari.  Monuments  religieux  de  I'architecture  romane  et  de  transition  dans  la  region 
Picarde.  Amiens,  Yvert  et  Telher,  and  Paris,  A.  Picard  et  Fils,  189.5.  Foho.  —  A  monumental 
work. 

Rodierc  et  Chiyencourt.  La  Picardie  historique  et  monumentale.  Arrondissement  d  Abbe- 
ville, cantons  de  Rue  et  d'Ault.     Paris,  Picard,  1906.     4to. 

Emmanuel  W'oHlez.  Etudes  archeologiques  sur  les  monuments  religieux  de  la  Picardie. 
(Memoires  de  la  societe  des  antiquaires  de  Picardie,  tome  ^^,  1843,  p.  213.)  —  The  archaeology 
is  misleading. 

Emmanuel  Woillez.  Les  caracteres  de  rarchitecture  dans  la  Picardie.  (Memoires  de 
la  Societe  des  antiquaires  de  Picardie,  tome  VI,  1843,  p.  213.) 

Eugene  Woillez.  L 'apparition  de  1 'ogive  en  Picardie.  (Memoires  de  la  societe  des  anti- 
quaires de  Picardie,  lere  serie,  tome  IX,  p.  115.) 

Abbe  ilarchand.  Les  sanctuaires  de  la  Sainte  Vierge  en  Picardie.  (Le  Dimanche,  Se- 
maine  religieuse  du  diocese  d 'Amiens,  Nos.  des  25  Octobre,  1  Novembre,  et  8  Novembre,  1885.) 

VALOIS 

A.  St.  Pavl.  Aper^u  sur  I'architecture  dans  le  Valois.  (Congres  archeologique  de  France, 
XLIVme  session.  Seances  generates  tenues  a  SenUs  en  1877,  p.  246.)  —  "On  y  trouve  d'interes- 
santes  descriptions  des  eglises  de  St.  Vaast-de-Longmont  et  de  Morienval."     (Lefevre-Pon talis.) 

Carlier.  Histoire  du  duche  de  Valois.  Paris,  1764.  3  vols.  4to.  —  One  of  the  earliest 
works  on  medieval  archaeology. 

430 


B.     SPECIAL   WORKS 

II.    WORK  DEALING  WITH  SEPARATE  DEPARTEMENTS 
AUBE 

D'Arbois  de  Jubainville.  Repertoire  archeologique  du  departement  de  I'Aube.  Paris, 
Imprimerie  Imperiale,  1861.  — A  complete  list  of  the  monuments  of  Aube.  Most  valuable  as 
a  guide-book. 

Amavd.  Voyage  archeologique  et  pittoresque  dans  le  departement  de  I'Aube  et  dans 
I'ancien  diocese  de  Troyes.     Troyes,  Cardon,  1837.     4to.  —  A  work  valuable  even  to-day. 

Ch.  Fichot.  Statistique  monumental  du  departement  de  I'Aube.  Troyes,  Chez  Lacroix, 
1884.  4to.  Tome  I.  Arrondissement  de  Troyes.  —  I  have  seen  only  the  first  volume  and  do 
not  known  whether  the  publication  has  ever  been  completed.  The  work  is  of  laudable  breadth 
of  purpose,  but  unfortunately  marred  by  poor  illustrations  and  generally  faulty  execution. 

AISNE 

Edouard  Fleury.  Antiquites  et  monuments  du  departement  de  I'Aisne.  Paris,  1877-82. 
4  vols.  4to.  —  An  important  work,  whose  usefulness,  however,  is  marred  by  the  author's  ten- 
dency to  attribute  works  of  the  XII  century  to  the  Carolingian  era. 

CALVADOS 

Arcisse  de  Caumont.  Statistique  monumentale  du  Calvados.  (In  Bulletin  monumental. 
Vol.  8,  p.  145,  489;  Vol.  9,  p.  318;  Vol.  10,  p.  9;  Vol.  12,  p.  46.)  —A  new  edition  in  several 
volumes,  8vo.,  has  been  issued  at  Caen,  F.  Le  Blanc-Hardel,  1898.  —  This  monumental 
work,  notwithstanding  its  early  date,  contains  the  best  publication  that  has  yet  been  made  of 
many  of  the  smaller  churches  of  Calvados. 

Arcisse  de  Caumont.  Les  tours  d'eghses  dans  le  Calvados.  (Bulletin  monumental,  Vol. 
23,  1847,  p.  362.)  —  A  valuable  study. 

Arcisse  de  Caumont.  Inspection  des  monuments  du  Calvados  en  1848.  (Bulletin  monu- 
mental. Vol.  15,  1849,  p.  89.)  —  Contains  a  small  amount  of  valuable  information. 

Arcisse  de  Caumont.  Rapport  verbal  sur  quelques  monuments  du  Calvados.  (Bulletin 
monumental.  Vol.  23,  1857,  p.  110.)  —  Contains  descriptions  of  monuments  little  knovsTi  even 
to-day. 

Thorigny.     Le  Calvados  pittoresque  et  monumental.     Caen,  1846. 

De  Jolimont.  Description  historique  et  antique,  et  vues  des  monuments  religieux  et  civ- 
ils  les  plus  remarquables  du  departement  du  Calvados.    4to. 

CHER 

A.  Buhot  de  Kersers.  Histoire  et  statistique  monumentale  du  departement  duCher.  Bour- 
ges.  Tardy  Pigelet,  1875,  1898.  8  vols.  4to.  —  A  most  useful  work.  The  illustrations  un- 
fortunately leave  something  to  be  desired;  but  in  this  as  in  other  directions  the  latter  volumes 
show  marked  improvement. 

EURE 

Charpillon  et  Caresme.  Dictionnaire  historique  de  toutes  les  communes  du  departement 
de  I'Eure. 

Anonymous.     Les  plus  beaux  monuments  de  I'Eure.     Laigle.     Folio,  1856. 

Auguste  Leprevost.  Essai  sur  quelques  monuments  ren'.arquables  du  departement  de  1  'Eure. 
Caen,  1829. 

Auguste  Leprevost.     Les  monuments  de  I'Eure.     1828.     2  vols.     8vo. 

MANCHE 

T.  du  Moncel.  Revue  archeologique  du  departement  de  la  Manche.  Valognes,  Librairie 
Carrette-Bondessein,  1843. 

431 


BIBLIOGRAPHIES 

C.  de  Oeri'ille.  Etudes  geograpliiques  et  historiques  sur  le  departement  de  la  Manche. 
Cherbourg,   Fenardent,   1854.     8vo. 

C.  de  Gerville.     Les  abbayes  et  les  chateaux  du  departement  de  la  Manche.     1825.     8vo. 

C.  de  Gerville.  Recherches  sur  les  abbayes  de  la  Manche.  (Memoires  de  la  Societe  des 
Antiquaires  de  Norniandie,  tome  II,  p.  77.) 

OlSE 

Abbe  Pihau.  Esquisse  descriptive  des  monuments  historiques  dans  I'Oise.  Beauvais, 
1889.     Svo. 

Graces.  Precis  statistique  sur  les  cantons  du  departement  de  I'Oise.  1826-49.  —  "Ces 
statistiques  forment  une  oeuvre  mouumentale  pour  le  departement."     (Woillez.) 

Graves.  Notice  archeologique  sur  le  departement  de  I'Oise.  1838.  8vo.  A  second 
edition,  Beauvais,  1856.  Svo.  —  "A  signale  le  premier  certains  edifices  dignes  du  plus  liaut 
interet."     (Lefevre-Pontalis.) 

Emmanuel  Woillez.  Repertoire  archeologique  du  departement  de  I'Oise.  Paris,  1862. 
4to.  —  "Renferme  de  nombrenscs  inexactitudes."     (Lefevre-Pontalis.) 

V.  Tremblay.  Dictionnairc  topograpliique,  statistique,  liistorique,  administratif,  commer- 
cial et  industriel.     1840.     Svo. 

Vitet.  Rapport  ii  M.  le  iNIinistre  de  I'lnterieur  sur  les  monuments,  les  bibliotheques,  les 
archives,  et  les  musecs  des  dcpartements  de  I'Oise,  de  I'Aisne,  de  la  Marne,  du  Nord,  et  du  Pas- 
de-Calais.  Paris,  1S31.  4to.  —  "Contient  des  renseignements  trop  sommaires  pour  servir 
de  guide  aux  archcologues."     (Lefevre-Pontalis.) 

ORNE 

De  la  Sieotiere  et  Poukt-Malassu.  Le  departement  de  1  'Orne  archeologique  et  pittoresque. 
Laigle,  Benzelin,  1845.  Folio.  —  A  description  of  the  departement,  which  is  still  of  value,  though 
the  archaeology  is  often  entirely  unreliable. 

Galcron.  Les  monuments  liistoriqucs  de  I'Orne.  .  .  .  Arrondissements  d'Alenpon  et 
d'Argcntan.     1825.     Svo  and  Atlas. 

SARTHE 

Pesche.  Dictionnairc  topographique,  historique,  et  statistique  de  la  Sarthe.  Le  Mans, 
Monnoyer.     6  vols.     Svo. 

E.  Hrtcher.  Notice  sur  quelques  monuments  historiques  du  departement  de  la  Sarthe. 
(Bulletin  monumental,  1850,  Vol.  XV,  p.  32.)  —  Inadequate  descriptions  of  Sille  and  Rouez. 

SEINE 

Prefecture  du  departemetit  de  la  Seine.  Inventaire  general  des  oeuvres  d'art  decorant  les 
edifices  du  departement  de  la  Seine.  Paris,  A  Chaix  et  Cie,  1879.  3  vols.  4to.  —  A  descrip- 
tion of  all  the  churches  of  the  departement,  unfortunately  quite  inadequate  from  an  archaeological 
point  of  view. 

De  GuiUiermy.  Statistique  monumentale  du  departement  de  la  Seine.  (Annales  archeo- 
logiques  I,  1844,  p.  97,  142.)  —  Unimportant. 

SEINE-INFERIEURE 

Abbe  Cocliet.  Repertoire  archeologique  du  departement  de  la  Seine-Infeiieure.  Paris, 
Imprimerie  Nationale,  1871.     4to. 

Charles  de  Beaurepaire.  Notes  historiques  et  archeologiques  concemant  le  departement 
de  la  Seine-Inferieure.     Rouen,  Cagniard,  1883.     Svo. 

SEINE-ET-MARNE 

Aufauvre  et  Fichoi.  Les  monuments  de  Seine-et-Marne.  Paris,  Publie  par  les  auteurs, 
1S58.     Folio.  —  The  drawings  are  of  value. 

432 


B.     SPECIAL  WORKS 

SOMME 

Duaevel.    Lettres  sur  le  departement  de  la  Somme.     Amiens,  1840.     8vo. 

YONNE 

Quantin.  Memoires  pour  servir  a  I'histoire  des  communes  du  departement.  (Annuaire 
de  I'YonBe,  Vol.  1,  1837,  et  seq.  passim.)  —  Studies  of  different  parishes,  for  the  most  part  fairly 
adequate: 

Victor  Petit.  Guide  pittoresque  dans  le  departement  de  1 ' Yomie.  (Amiuaire  de  1 ' Yonne, 
Vol.  VII,  1843,  3me  partie,  p.  128.)  —  Contains  a  certain  amount  of  archaeological  information. 

Victor  Petit.  Note  pour  seirir  a  la  description  de  plusieurs  monuments  du  departement 
de  I'Yonne.  (Bulletin  monumental.  Vol.  13,  1847,  p.  153;  Vol.  15,  1849,  p.  145.)  —Unim- 
portant. 

m.    WORKS  ON  SEPARATE  BISHOPRICS 
AMIENS 

C.  Erdart.  Monuments  religieux  de  I'architecture  romane  et  de  transition  dans  la  region 
Picarde;  anciens  dioceses  d 'Amiens  et  de  Boulogne.  Amiens,  Yvert  et  Tellier,  and  Paris,  A. 
Picard  et  Fils,  1895.  Folio.  —  An  excellent  study,  comprising  separate  monographs  on  sH  the 
Romanesque  and  transitional  monuments  of  the  diocese. 

AVRANCHES 

Abbe  E.  A.  Pigeon.  Le  diocese  d'Avranches:  sa  topographic,  ses  origines,  ses  eveques, 
sa  cathedrale,  ses  eglises,  ses  comtes,  et  ses  chateaux.  Coutances,  Imprimerie  de  Salettes,  1888. 
2  vols.     8vo.  —  Of  secondary  value. 

Le  Hericher.    Avranchin  monumental  et  historique.     1865. 

BAYEUX 

Paul  de  Farcy  Abbayes  de  1  'eveche  de  Bayeux.  (Cerisy,  Cordillon,  Fontenay,  et  Longues.) 
Bayeux,  Laval,  1886-88.     3  vols.     4to. 

BEAm^AIS 

Eug.  J.  WoUlez.  Archeologie  des  monuments  religieux  de  I'ancien  Beauvoisis  pendant 
la  metamorphose  romane.     Paris,  Derache,  1839^9.     Folio.  —  A  standard  work. 

Stanislas  de  St.  Germain.  Pelerinage  archeologique  en  Beauvoisis.  (Memoires  de  la 
societe  des  antiquaires  de  Picardie,  tome  VIII,  1845,  p.  317.)  —  The  archaeology  is  entirely 
misleading. 

D.  Simon.  Supplement  a  I'histoire  du  Beauvoisis.  Nobiliaire  du  Beauvoisis.  Fonda- 
tions,  etc.     Additions  a  I'histoire  de  Beauvoisis.     1704.     12°. — A  secondary  somce. 

Abbe  Delettre.     Histoire  du  diocese  de  Beauvais.     1842^3.     3  vols.     8vo. 

Loisel.  Memoires  des  pays,  -ville,  comte,  et  comte,  Evesche,  Evasques,  pairrie,  commune, 
et  personnes  de  renom  de  Beauvais  et  Beauvoisis.  1617.  4to.  — A  secondary  source  for  the 
Beauvoisis. 

CHALONS-SUR-MARNE 

Edouard-de  Barthelemy.  Diocese  ancien  de  Chalons-sur-Mame;  Idstoire  et  monuments. 
Paris,  Aubry,  1861.     8vo.  —  Of  no  scientific  value. 

MEAUX 

O.  Join-Lambert.  Le  diocese  de  Meaux.  These  de  I'Ecole  des  Chartes,  promotion  de 
1894. 

433 


BIBLIOGRAPHIES 
PARIS 

Louis  Barron.  Autour  cle  Paris.  Paris,  Quantin,  [1891].  4to.  —  "  Popular "  in  the  worst 
sense  o£  the  word. 

H.  Escofper.  Les  demieres  eghses  gothiqucs  au  diocese  de  Paris.  (Positions  des  theses 
de  I'Ecole  des  Chartes,  1900.) 

LE  PERCHE 

Abbe  Fret.     La  pelerine  Percheronne. 

Bart  des  Boidais.    Antiquites  du  Perche.     PubUe  et  annote  par  M.  H.  Tournorier. 

SOISSONS 

E.  Lejevre-Pontalis.  L "architecture  rehgieuse  dans  I'ancien  diocese  de  Soissons  au  XI 
et  XII  siecle.     Paris,  Plon,  1894.     2  vols.     Folio.  —  A  monumental  work. 

Abbe  Ledouble.  Etat  reUgieu.x  ancien  et  modeme  des  pays  qui  forment  aujourd'hui  le 
diocese  de  Soissons.  St.  Quentin,  1888.  8vo.  —  "L'auteur  a  dresse  avec  le  plus  grand  soin 
la  liste  des  cures,  des  chapitres  et  des  prieures  de  I'ancien  diocese."     (Lefevre-Pontalis.) 

Baillarge.    Melanges  pour  servir  a  1  'histoire  du  Soissonnais.     1844. 

JjCqueux.  Antiquit&  religieuses  des  dioceses  de  Soissons  et  de  Laon.  Paris,  1858.  2 
vols.  8vo.  —  "C'est  une  oeuvre  anecdotique,  depourvue  de  caractere  scientifique."  (Lefevre- 
Pontalis.) 

TRO'i'ES 

Desguerrois.     L 'Histoire  du  diocese  de  Troyes. 

VENDOME 

J.  de  Petigny.  [Le  diocese  de  Vendome.]  Vendome  et  Blois,  lere  ed.,  1845.  2me  ed., 
1882.     8vo. 

P.  de  la  Jlylais.  Le  Bas-Vendomois  historique  et  monumental.  Saint  Calais,  Peltier, 
1878.     8vo. 

IV.    WORKS  OF  LIMITED  TECHNICAL  OR  HISTORIC  SCOPE 

SYMBOLISM 

Entile  Male.  L'art  religieux  du  XIII  siecle  en  France.  Paris,  Armand  Colin,  1902.  4to. 
—  An  authoritative  work  on  the  symbolism  and  iconography  of  the  Gothic  period. 

Emile  Male.  L'art  sj-mbolique  a  la  fin  du  moyen  age.  (Revue  de  l'art,  1905,  Vol.  18  et 
seq.)  —  An  important  study. 

Crosnier.  Iconographie  chretienne.  Tours,  Mame,  1876,  8vo.  —  "Le  meilleur  des 
auteurs  qui  ont  etudie  les  questions  ardues  du  symbolism."     (Enlart.) 

A.  N.  Didron.  Iconographie  des  cathedrales.  (Annales  archeologiques,  Vol.  9,  pp.  41 
99,  175,  232;  Vol.  10,  p.  139.) 

Carl  Meyer.  Der  griechische  Mythus  in  den  Kunstwerken  des  IMittelalters.  (Reperto- 
rium  fiir  Kunstwissenschaft,  1889,  Vol.  12,  pp.  159,  235.) 

Abbe  Aubcr.    Histoire  et  theorie  du  symbolisme  religieux.     Paris,  1871.     3  vols.     8vo. 

Caryl  Coleman.  The  Jesse  Tree.  (Architectural  Record,  Vol.  21,  No.  5,  May,  1907, 
p.  361.)  — Mediocre. 

Comte  de  Bastard.  Etudes  de  symbolique  chretienne.  Paris,  Imprimerie  Imperiale,  1861. 
8vo. 

Eugene  Woillez.  L 'iconographie  des  plantes  aroldes  dans  les  monuments  du  moyen  age. 
(Memoires  de  la  Societe  des  Antiquaires  de  Picardie,  1^  serie,  tome  IX,  p.  279.) 

Piper.  Einleitung  in  die  monumentale  Theologie.  1867.  —  "Verfolgt  jedoch  wesent- 
lich  kirchlich  archaologische  Zweeke."     (Schlosser.) 

434 


B.     SPECIAL  WORKS 

DEVIATION  OF  AXIS,  ETC. 

De  Lasteyrie.  La  deviation  de  I  'axe  des  eglises  est-elle  symbolique  ?  (Memoires  de  1  'Acad- 
emie  des  Inscriptions  et  Belles-Lettres,  tome  XXXVII,  2me  partie;  Bulletin  monumental,  Vol. 
69,  1905,  p.  422.)  —  An  exhaustive  study. 

A.  St.  Paul.  Les  irregularites  de  plan  dans  les  eglises.  (Bulletin  monumental.  Vol.  70; 
1906,  p.  129.)  —  An  admirable  resume  of  the  question  up  to  date. 

John  Bilson.  Deviation  of  axis  in  medieval  churches.  (Journal  of  the  Royal  Institute 
of  British  Architects,  Dec.  25,  1905.)  —  A  criticism  of  M.  de  Lasteyrie's  memoir  on  the  same 
subject. 

W.  H.  Goodyear.  Architectural  refinements  in  French  cathedrals.  (Architectural 
Record,  Vols.  16,  17,  1904-5.) 

W.  H.  Goodyear.  Architectural  Refinements.  A  reply  to  Mr.  Bilson.  (Journal  of  the 
Royal  Institute  of  British  Architects.  Third  Series,  Vol.  15,  1907,  p.  17.)  —  One  of  the  most 
important  of  Mr.  Goodyear's  publications. 

John  Bilson.  Architectural  refinements  at  Amiens.  (Journal  of  Royal  Institute  of  Brit- 
ish Architects,  1906,  p.  397.  French  translation  by  Louis  Serbat  in  Bulletin  monumental.  Vol. 
71,  1907,  p.  32,  under  title:  La  cathedrale  d 'Amiens  et  les  "Raffinements"  de  M.  Goodyear.)  — 
A  polemic  against  Prof.  Goodyear. 

W.  H.  Goodyear.  The  widening  refinement  in  Reims  cathedral.  London,  privately 
printed,  1907.     8vo.  —  A  study  of  the  irregularities  of  Reims.     An  illustrated  pamphlet. 

Abbe  Auber.  De  I 'axe  des  eglises  et  de  sa  deviation  symbohque;  lettre  a  Mgr.  Barbier 
de  Montault.     (Bulletin  Monumental,  Vol.  39,  p.  38.) 

STAINED  GLASS 

Cahier  et  Martin.  Explication  des  vitraux  de  la  cathedrale  de  Bourges.  Paris,  1841-44. 
Folio.  —  A  monumental  work  on  the  glass  of  the  XIII  century. 

Albert  des  Meloizes.  Les  vitraux  peints  de  la  cathedrale  de  Bourges  posterieurs  au  XIII 
siecle.  Paris,  1891-97.  Folio.  —  A  monumental  work  on  the  stained  glass  of  the  later  medieval 
period. 

Eugene  Hucher.  Vitraux  peints  de  la  cathedrale  du  Mans.  Paris,  Didron,  1865.  Folio. 
— A  series  of  very  fine  reproductions  in  color  of  the  windows  of  Le  Mans. 

Eugene  Hucher.  Caiques  des  vitraux  peints  de  la  cathedrale  du  Mans.  Paris,  Didron, 
1864.     Folio.  —  A  standard  work,  companion  to  the  above. 

Florival  et  Midoux.  Les  vitraux  de  la  cathedrale  de  Laon.  Paris,  Didron,  1882.  Folio. 
—  An  adequate  work. 

Emile  Lambin.  La  peinture  sur  verre  au  moyen  age.  (Revue  de  I'art  chretien.  Vol.  52, 
1902,  p.  49.) 

Oliver  Merson.  Les  vitraux.  Bibliotheque  de  I'enseignement  des  Beaux-Arts.  Paris, 
Quantin,  no  date.  —  "Highly  valuable  as  an  introduction  to  the  subject."     (Sturgis.) 

N.  H.  J.  Westlake.  A  history  of  design  in  painted  glass.  London  and  Oxford,  John 
Parker  &  Co.,  1881.     Folio.     4  vols.  — Leaves  much  to  be  desired. 

Charles  Hitchcock  Sherrill.  Stained  glass  tours  in  France.  New  York,  John  Lane 
Co.,  1908. 

Schaefer  and  Rosstenscher.  Ornamentale  Glasmalereien  des  Mittelalters  und  der  Renais- 
sance.    Beriin,  1888.     Foho. 

De  Lasteyrie.     La  peinture  sur  verre.     Paris,  1839-58.     Folio. 

E.  A.  Didron.  Histoire  de  la  peinture  sur  verre  en  Europe.  (Annales  archeologiques, 
Vols.  XXIII,  XXIV,  XXVII,  passim.) 

Jides  Quicherat.  Quelques  mots  sur  la  theorie  de  la  peinture  sur  verre,  par  F.  de  Lasteyrie. 
(Bibliotheque  de  I'Ecole  des  Chartes,  1853-54,  3e  serie,  tome  IV,  pp.  519-520.) 

Jules  Quicherat.  De  quelques  pieces  curieuses  de  verrerie  antique.  (Revue  archeo- 
logique,  nouvelle  serie.  Vol.  28,  1874,  p.  72.) 

435 


BIBLIOGRAPHIES 

J.  R.  A.  Texier.  Origine  de  la.  peinture  siir  verre,  systeme  inconnu  de  ^ntraux  romans. 
(Annales  arclieologiques,  Vol.  10,  p.  81.) 

J.  Marchand.  Verriercs  du  choeur  de  I'eglise  metropolitaine  de  Tours.  Paris,  Didron, 
1840.     Folio.  —  Very  valuable. 

L.  Ottin.  Le  VitraU;  son  histoire,  ses  manifestations  a  travers  les  ages  et  les  peuples. 
Paris,  H.  Laurens,  no  date.     4to.  —  Of  very  little  value. 

Edmoiid  Levy  et  Capronnier.     Histoire  de  la  peinture  sur  verre.     Bruxelles,  1860.     4to. 

Emile  Thibavd.    >Jotions  historiques  sur  les  \itraux  anciens  et  modernes. 

C.  L.  Morance.  Notice  sur  les  verrieres  de  I'eglise  de  la  Ferte-Bemard  (Sarthe).  (Bulle- 
tin I\Ionumental,  Vol.  V,  p.  497.) 

J.  B.  Cofjiiwt.  Les  peiutres-verriers  de  Troyes.  (Annales  archeologiques.  Vol.  18,  pp. 
125,  212.) 

A.  Lenoir.  Musee  des  monumens  fran^ais;  histoire  de  la  peinture  sur  verre,  et  descrip- 
tion des  vitrau.\  anciens  et  modernes,  pour  servir  a  1  'histoire  de  1  'art,  relativement  a  la  France. 
Paris,  1803. 

Anonymous.  Description  des  verrieres  peintes  de  la  cathedrale  d'Auxerre.  (In  Annu- 
aire  statistique  du  departenient  de  I'Vonne,  1841,  3e  partie,  p.  38f.)  —  An  analysis  of  the  sub- 
jects of  the  windows. 

Liicicn  Magiie.     Le  \'itrail. 

Arthur  Verhaegen.  L'art  de  la  peinture  sur  verre  au  moyen  age.  (Revue  de  I'art  chretien, 
29e  annce,  4me  serie,  tome  4,  1886.) 

L.  Latteux.  Essai  sur  1 'histoire  du  verre  et  des  vitraux  peints.  (Revue  de  l'art  chretien. 
Vol.  17,  passim.) 

E.  H.  Langlow.  Essai  historique  et  descriptif  sur  la  peinture  sur  verre  ancienne  et  mod- 
erne.     Rouen,  Edouard  Frere,  1832.     12°.  —  Of  no  value. 

Deinlk.     L'art  de  la  verrerie  dans  I'antiquite.     4to. 

R.  Herbert  Carpenter,  James  C.  Powell,  -V.  H.  J.  Westlake,  and  Clement  Heaitm.  Stained 
glass.     (In  Royal  Institute  of  British  Architects,  Transactions,  1892,  new  series,  col.  8,  p.  185  seq.) 

Le  Vieil.    L'art  de  la  peinture  sur  verre  et  de  la  ^trerie.     Paris,  1774. 

SCULPTURE 

Robert  de  Lasteyrie.  Etudes  sur  la  sculpture  fran^ise  au  moyen  age.  (Monuments  et 
memoires  publics  par  I'Academie  des  Inscriptions  et  Belles-Lettres,  tome  VIII,  1902.) — An 
important  study  of  the  chronology  and  cross-influences  of  the  French  schools  of  sculpture  in  the 
XII  centurj-. 

Gabriel  Fleury.  Des  portails  romans  du  XII  siecle  et  de  leur  iconographie.  (Revue  his- 
torique et  archeologique  du  Maine,  tome  LIII,  1893,  p.  31.)  Published  separately  under  the 
title :  fitudes  sur  les  portails  images  du  XII  siecle,  leur  iconographie,  et  leur  symbolisme.  Mamers, 
Fleury  et  Dangin,  1904.     4to.  —  A  valuable  monograph. 

Wilhclm  Voge.  Die  Anfange  des  monumentalen  Stiles  in  Mittelalter.  Eine  Untersuch- 
img  iiber  die  erste  Blutezeit  franzosischer  Plastik.  Strassburg,  J.  H.  Ed.  Heitz,  1894.  8vo. 
—  An  important  study  of  French  sculpture  of  the  XII  century,  containing,  however,  radical 
errors  of  judgment. 

G.  L.  Adams.  Recueil  de  sculptures  gothiques  dessinees  et  gravees  d  'apres  les  plus  beaux 
monuments  construits  en  France  depuis  le  XI  jusqu'au  XV  siecle.  Paris,  Morel  et  Cie,  [1856]. 
2  vols.     Folio.  —  An  invaluable  collection  of  croquis,  well  selected  and  well  drawn. 

Anonymous.  Le  musee  de  sculpture  comparee  du  palais  du  Trocadero  du  XI  au  XV  siecle. 
Paris,  Guerinet,  no  date.  3  vols.  Folio.  —  Contains  a  large  number  of  half-tone  reproduc- 
tions of  casts  in  the  Trocadero,  of  wliich  about  half  are  of  medieval  subjects. 

Max  Sehmid.  Meisterwerke  der  dekorativen  Skulptur  aus  dera  XI-XW  Jahrhundert 
aufgenommen  nach  den  Abgussen  des  Museums  fiir  vergleichende  Skulptur  im  Trocadero  zu 
Paris.  Stuttgart,  Julius  Hoflman,  [1894-95].  Folio.  —  Essentially  a  reprint  of  the  above. 
Modem  sculptures  are  omitted,  and  the  plates  are  somewhat  clearer. 

436 


B.     SPECL\L  WORKS 

Vitry  et  Briere.  Documents  de  sculpture  fran9aise'du  moyen  age.  Recueil  de  140  planches, 
contenant  940  documents.     4to. 

A.  de  Baudot.  La  sculpture  fran^aise  au  moyen  age  et  a  la  Renaissance.  Paris,  Des 
Fossey  et  Cie,  1884.     Folio.  —  Contains  good  croquis  of  figure  and  ornamental  sculptures. 

T.  B.  Emeric-David.  Histoire  de  la  sculpture  franpaise.  Paris,  Librairie-Renouard, 
1872.     12°.  —  A  work  of  a  certain  value,  imfortunately  uniUustrated. 

De  la  Tremhiaye.  Solesmes;  les  sculptures  de  I'eglise  abbatiale,  1496-1553.  Solesmes, 
Imprimerie  St.  Pierre,  1892.     Polio.  —  A  monumental  work. 

C.  Enlart.  Notes  sur  les  sculptures  executees  apres  la  pose  du  XI  au  XIII  siecle.  Paris, 
1895. 

Marcel  ReynwTid,  Paid  Vitry,  et  Gaston  Briere.  Documents  de  sculpture  franfaise  au  moyen 
age.     (L'Arte,  Vol.  7,  1904,  p.  520.) 

Willemin  et  Pottier.  Monuments  fran^is  inedits  pom-  servir  a  1 'histoire  des  arts  depuis 
le  VI  siecle  jusqu'au  commencement  du  XVII.     Paris,  1839.     2  vols.     Foho. 

Louis  Gonse.  La  sculptiu'e  fran9aise  depuis  le  XIV  siecle.  Paris,  Librairies-Impri- 
meries  Reunies,  1895.  Folio.  —  Medieval  sculpture  is  treated  merely  as  an  introduction  to  the 
Renaissance  and  modem  periods. 

W.  C.  Brownell.  French  art,  classic  and  contemporary.  Painting  and  sculpture.  New 
York,  Scribner's,  1901. 

lierhe.  Histoire  des  beaux-arts  en  France  par  les  monuments,  sjjecialement  de  la  sculp- 
ture et  de  la  peinture.     Paris,  Gamier,  [1842].     4to.  —  Of  no  scientific  value. 

A.  Marigtian.  Histoire  de  la  sculpture  en  Languedoc  des  XI-XIII  siecles.  Paris,  Bouil- 
lon, 1902. 

Marignan.  L'ecole  de  sculpture  en  Provence  du  XII  au  XIII  siecle.  (Moyen  age  XII, 
1899,  p.  1.)— Misleading. 

L.  Roger-Miles.     Le  moyen  age,  beaux-arts.     Paris,  Ronam,  [1893].  —  Of  little  value. 

ARCHITECTURE  OF  THE  MONASTIC  ORDERS 

Abbe  Crosnier.  Notice  sur  les  ecoles  d 'architecture  au  moyen  age.  (Bulletin  monumental. 
Vol.  35,  1849,  p.  413.)  —  A  cursory  study  of  the  influence  of  the  monastic  orders  on  archi- 
tectural style. 

R.  Le  Conte.  Etudes  historiques  et  archeologique  sur  les  abbayes  des  Benedictines  en 
general  et  sur  celle  de  Hambye  en  particulier.     Bernay,  1890. 

A.  Holtmeyer.  Cisterzienserkirchen  Thuringens.  Ein  Beitrag  zur  Kenntnis  der  Ordens- 
bauweise.  Jena,  Gustav  Fischer,  1907.  —  Contains  a  chapter  on  Cistercian  architecture  in  France. 

Monasticon  Gallocanwm.  Collection  de  168  planches  de  vues  topographiques  represent- 
ant  les  monasteres  de  I'ordre  de  St.  Benoit,  congregation  de  St.  Maur.     Paris,  1882.     3  vols. 

A.  Matthaei.  Beitrage  zur  Baugeschichte  der  Cisterzienser  Frankreichs  und  Deutsch- 
lands.  Mit  besonderer  Berucksichtigung  der  Abteikirche  Amsburg  in  der  Wetterau.  Darm- 
stadt, 1893. 

Arbcris  de  Jubainville.  Etude  sur  I  'etat  interieur  des  abbayes  cisterciennes  et  principale- 
ment  de  Clairvaux  au  XII  siecle.     Paris,  1858. 

De  Dion.    Etude  sur  les  eglises  de  1  'ordre  de  Citeaux. 

Trudon  des  Ormes.  Etude  sur  les  possessions  de  1 'Ordre  du  Temple  en  Picardie.  (Me- 
moires  de  la  societe  des  antiquaires  de  Picardie,  4me  serie,  tome  II,  1894,  p.  75.)  —  An  exhaustive 
study  with  important  remarks  on  the  architecture  of  the  Templar  chapels. 

MEDIEVAL  MASTER  BUILDERS 

V.  Mortet.  La  maitrise  d'oeuvre  dans  les  grandes  constructions  du  XIII  siecle  et  la  pro- 
fession d'appareilleur.  (Bulletin  monumental.  Vol.  70,  1906,  p.  263.)  —  Contains  the  pub- 
lication of  several  ancient  texts  of  importance. 

Jides  Mommeja.  Du  role  des  moines  dans  1 'architecture  au  moyen  age.  Analyse  de  la 
conference  faite  par  M.  Anthyme  St.  Paul.     Montauban,  1892. 

437 


BIBLIOGRAPHIES 

A.  L.  Frothingham.  Discover)'  of  an  original  church  model  by  a  Gothic  architect.  (Archi- 
tectural Record  XXII,  1907,  p.  111.)  —  Publication  of  a  model  of  St.  Maclou  of   Rouen. 

TECHNICAL  WORI'CS 

Edm.  Soli'yns.  Theorie  de  I'architecture  ogivale  a  I'usage  des  archeologues,  des  archi- 
tectes,  et  des  ingenieurs.  Paris,  Didron,  18+G.  Pamphlet.  —  A  study  of  the  mathematical 
and  mechanical  means  of  tracing  the  various  Gothic  curves. 

VioUet-le-Duc.  De  la  construction  des  edifices  religieux  en  France  depuis  le  commence- 
ment du  christianisme  jusqu'au  XVI  siecle.  (Annales  archeologiques.  Vol.  1,  p.  179;  Vol.  2, 
pp.  78,  143,  336;  Vol.  3,  p.  321;  Vol.  IV,  p.  266.)  —  Notwithstanding  frequent  errors,  the 
works  of  Viollet-le-Duc  are  always  stimulating. 

H.  Leibnitz.     Die  Organisation  der  Gewiilbe  in  christUchen  Kirchenbau.     Leipzig,  1855. 

Ungemtter.     Gothische  construction. 


v.  monographs  of  several  monuments  combined  in  one  volume 
Epone,  etc. 

E.  Lejevre-Ponicdis.  Monographies  des  eglises  d'fipone,  d 'Hardricourt,  de  Juziers,  de 
Meulan,  de  Triel,  et  de  Gassicourt.  (Extrait  du  Bulletin  de  la  Commission  des  Antiquites 
et  des  Arts  de  Seine-et-Oise,  tomes  V,  VI,  VII,  et  VIII,  1885,  1886,  1887,  et  1888.) 

NOYON,  ETC. 

M.  O.  Bttuet.  Excursion  a  Noyon,  a  Laon,  et  a  Soissons.  (Bulletin  monumental.  Vol. 
34,  1868,  p.  430  seq.)  —  The  remarks  on  Noyon  are  particularly  valuable  and  suggestive. 

COINCY,  ETC. 

De  Vertus.  Histoire  de  Coincy,  Fere,  Oulchy,  et  des  villages  environnants.  Laon,  1864. 
8vo. 

C.    MONOGR.\PHS 
ABBE\TLLE 

Gilbert.     Description  historique  de  Teglise  de  St.  \'ulfran  d 'Abbeville. 

AGNIERES 

A.  Normand.  Description  des  vitraux  de  I'eglise  d'Agnieres.  (Memoires  de  la  Societe 
des  Antiquaires  de  Picardie,  2me  serie,  tome  IX,  1863,  p.  105.)  —  Unimportant. 

AIRAINES 

Dusevel.  Notre  Dame  d'Airaines.  (Memoire  de  la  Societe  des  Antiquaires  de  France 
XVII,  1844,  p.  404.) 

Dusevel.    Notre  Dame  d'Airaines.     (La  Picardie  XIV,  p.  459.) 

AIZY 

Prioux.  Notice  sur  I'eglise  d'Aizy.  (Bulletin  de  la  Societe  Archeologique  de  Soissons, 
lere  serie,  tome  XVIII,  p.  23.) 

ALMENECHES 

Albert  Desvaux.  L'abbaye  d'Almeneches  et  le  chateau  d'O.  Caen,  Henri  Delesques, 
1890.     (Ex-trait  de  I'Annuaire  Normand,  1889.) 

438 


C.     MONOGRAPHS 

AMIENS.'     (CATHEDRAL.) 

Georges  Dura>id.  Monograpliie  de  I'eglise  Notre  Dame,  cathedrale  d 'Amiens.  Amiens 
and  Paris,  Picard  et  Fils,  1903.  2  vols.  Folio.  —  Unquestionably  the  best  monograph  on  this 
subject  and  in  many  ways  a  monumental  pubhcation. 

Georges  Durand.  Description  abregee  de  la  cathedrale  d 'Amiens.  Amiens,  Yvert  et 
Tellier,  1904.     12°.  —  An  ideal  travelers'  handbook. 

Rev.  Thomas  Perkins.  The  cathedral  church  of  Amiens,  a  short  history  and  description 
of  its  fabric.     London,  G.  Bell  &  Sons,  1902.     12°.     (Bell's  handbooks  to  continental  churches.) 

—  Leaves  a  great  deal  to  be  desired  but  is  perhaps  the  best  account  of  Amiens  in  Enghsh. 

John  Rusldn.  The  bible  of  Amiens.  —  Replete  with  errors  of  all  kinds,  this  work  is  still 
stimulating  and  suggestive. 

C.  Dufour.  L'incendie  du  clocher  de  la  cathedrale  d  'Amiens  en  1527,  d'apres  im  temoin 
oculaire.  (Memoires  de  la  Societe  des  Antiquaires  de  Picardie,  2me  serie,  tome  IX,  1863, 
p.  375.)  —  Contains  the  publication  of  an  important  source  for  the  history  of  the  building. 

Georges  Durand.  La  peinture  sur  verre  au  XIII  siecle  et  les  vitraux  de  la  cathedrale 
d' Amiens.  (Memoires  de  la  Societe  des  Antiquaires  de  Picardie.  4me  serie,  tome  I,  1891, 
p.  389.) 

Raze.  Visite  a  la  cathedrale  d 'Amiens.  9me  edition  re^'ue  et  completee.  Amiens,  Piteux 
Preres,  1903.     24°.  —  A  pocket  guide  of  value,  notwithstanding  several  inaccuracies. 

A.  21.  P.  Gilbert.  Description  historique  de  I'eglise  cathedrale  d 'Amiens.  Amiens, 
Caron-Vitet,  1833.  12°.  —  Contains  a  detailed  description  of  the  cathedral  as  it  was  before 
the  most  disastrous  of  the  modern  restorations. 

Chapuy.    Vues  pittoresques  de  la  cathedrale  d  'Amiens.     Paris,  Engelmann,  1826.     Folio. 

—  These  drawings  show  the  cathedral  as  it  existed  before  modem  restorations. 

Duval  et  Jourdain.  Deux  verrieres  de  la  cathedrale  d 'Amiens.  (Memoires  de  la  Societe 
des  Antiquaires  de  Picardie,  3me  serie,  tome  II,  1868,  p.  561.) 

Adrien  de  la  Morliere.    Les  antiquitez  d 'Amiens.     1642.     Folio. 

Jourdain  et  Duval.  Rapport  .  .  .  sur  I'etat  actuel  du  PortaU  de  la  Vierge-Doree  de  la 
cathedrale  d 'Amiens  .  .  .  et  sur  les  restaurations  a  faire.  .  .  .  (Memoires  de  la  Societe  des 
Antiquaires  de  Picardie,  tome  \T,  1843,  p.  59.)  PubUee  a  part  sous  le  titre  de  'Le  Portail  St. 
Honore  dit  de  la  Vierge-Doree  de  la  cathedrale  d 'Amiens.  Amiens,  1844.  8vo.  —  "Une 
remarquable  etude  iconographique."     (Durand.) 

Jourdain  et  Duval.  Le  grand  portail  de  la  cathedrale  d 'Amiens.  (Bulletin  monumental. 
Vols.  XI,  Xn,  passim.) 

Jourdain  et  Duval.  Les  sibylles,  peintures  murales  de  la  cathedrale  d 'Amiens.  Amiens, 
1846.     8vo. 

Jourdain  et  Duval.     Cathedrale  d 'Amiens,  les  stalles  et  clotures  du  choeur.     Amiens,  1867. 


8vo. 
8vo. 


Dusevel.    Notice  historique  et  descriptive  de  I'eglise  cathedrale  d 'Amiens.     Amiens,  1830. 


Rivoire.     Description  de  I'eglise  cathedrale  d 'Amiens.     Amiens,  1806.     8vo. 
Duval.     Guide  pour  \nsiter  la  cathedrale  d 'Amiens. 

Goze.    Nouvelle  description  de  la  cathedrale  d 'Amiens  suivie  des  descriptions  du  beffroi 
et  de  I'hotel-de-ville.     Amiens,  Alfred  Caron,  [1847].     4to.  —  Of  no  value. 
Goze.    Memorial  d 'Amiens,  1862. 

AMIENS   (EGLISE  DES  CORDELIERS) 

R.  de  Gugencourt.  Memoire  sur  I'ancienne  eglise  des  Cordeliers  d 'Amiens.  (Memoires 
de  la  Societe  des  Antiquaires  de  Picarde.  4me  serie,  tome  II,  1894.)  —  An  adequate  publica- 
tion, unillustrated. 

'  For  an  exhaustive  bibliography  of  the  cathedral  see  the  excellent  monograph  of  Durand. 

439 


BIBLIOGRAPHIES 

AMIENS   (ST.   GERISL\IN) 

Ft.  Guerard.  Histoire  de  I'eglise  St.  Germain  d 'Amiens.  (Memoires  de  la  Societe  des 
Antiquaires  de  Picardie,  2me  serie,  tome  VII,  1860,  p.  429.) 

ASNUfcRES 

Ed.  de  Lorwre.  Asnieres-sur-Vegre.  (Re\Tie  historique  et  archeologique  du  Maine,  tome 
LV,  1904,  p.  95.)  —  An  inadequate  accomit. 

AUBEVOYE 

Abbe  Drouin.    Monographic  de  I'eglise  d'Aubevoye. 

AUXERRE   (CATHEDRAL) 

P.  Corberon.  Auxerre,  sa  cathedrale,  ses  monuments.  Guide  du  touriste.  Auxerre, 
Lanier,  1906.     18°. 

Charles  Poree.  Le  choeur  de  la  cathedrale  d 'Auxerre.  (Bulletin  monumental.  Vol.  70, 
1906,  p.  251.) 

£mile  Lambin.  IjSl  cathedrale  d 'Auxerre.  (Revue  de  I'art  chretien.  Vol.  47,  1897, 
p.  383.)  —  A  brief  account,  unillustrated. 

Chapuy.  Vues  pittoresques  de  la  cathedrale  d 'Auxerre.  Paris,  Engelmann,  1828.  Folio. 
—  The  drawings  are  of  value  as  showing  the  condition  of  the  monument  in  the  XIX  century. 

AUXERRE   (ST.   GER:\L\IX) 

I'.  B.  Henry.  Histoire  de  I'abbaye  de  St.  Germain  d 'Auxerre.  Auxerre,  Gallot,  1853. 
8vo.  —  Contains  a  certain  amount  of  historical  data  bearing  upon  the  church. 

AZY-BONNEIL 

Moulin.  Notice  sur  I'eglise  d'Azy-Bonneil.  (Annales  de  la  Societe  Archeologique  de 
Chateau-Thierry,  1890,  p.  128.) 

BAZOCHES 

Prioux.  Notice  sur  I'eglise  de  St.  Thibauld  de  Bazoches.  (Re\'ue  archeologique,  2e 
serie,  tome  X,  1864,  p.  242.)  —  "On  y  trouve  des  details  interessants  sur  le  plan  primitif  du 
monument  dont  il  reste  a  peine  quelques  mines  aujourd  'hui.     (Lefe\Te-PontaUs.) 

Jules  Quicherat.  Rapport  sur  deux  communications  de  M.  Stanislas  Prioux.  (Re^Tie 
des  societes  savantes.  3me  serie,  IV,  1864,  p.  386.)  —  A  critique  of  the  above. 

BAZOUGES 

Sebastien  de  la  Bouillerie.  Bazouges-sur-le-Loire,  son  eglise  et  ses  fiefs.  (Ee^-ue  histor- 
ique et  archeologique  du  Maine,  tome  XV,  1884,  p.  27.)  —  A  meager  description  with  one  medi- 
ocre drawing. 

BAYEL-X 

De  Dion  et  Lasiignes.  Cathedrale  de  Bayeux.  Reprise  en  sous-oeuvre  de  la  tour  centrale. 
Paris,  A.  Morel  et  Cie,  1861.  4to.  —  Of  value  especially  for  the  description  of  the  ancient  piers 
found  imbedded  in  the  pillars  of  the  crossing. 

Abbe  Leliene.  Bayeux,  la  cathedrale,  les  eglises,  les  \'ieilles  maisons  etc.  Bayeux, 
Deslandes,  1907.     16°. 

De  Citssy.  Memoire  sur  des  chapiteaux  romans  de  la  cathedrale  de  Bayeux.  (Bulletin 
monumental.  Vol.  25,  p.  465.) 

Charles  Bourdon.  Excursion  archeologique  a  la  cathedrale  de  Bayeux.  (Bulletin  monu- 
mental. Vol.  17,  p.  196.) 

Chigovesnel.    Histoire  de  Bayeux.     1867. 

440 


C.     MONOGRAPHS 

BEAUVAIS 

Abbe  L.  Pihan.  Beauvais,  sa  cathedrale  et  ses  principaux  monuments.  Beauvais,  H. 
Tyezel,  1885.     24°.  —  Contains  many  errors. 

Victor  Tremblay.  Notice  historique  sur  la  ville  de  Beauvais  et  ses  environs.  Beauvais, 
Tremblay,  no  date.     8vo.     (Extrait  du  Dictionnaire  Statistique.)  —  Of  no  scientific  value. 

Daniel.  De  I'anciemie  cite  de  Beauvais.  (Societe  Academique  d 'Arclieologie  .  .  .  du 
Departement  de  I'Oise,  Memoires,  Vol.  II,  passim.) 

C.  L.  Doyen.  Histoire  de  la  ville  de  Beauvais,  faisant  suite  a  De  la  Fontaine.  1842.  2 
vols.     8vo. 

E.  de  la  Fontaine.  Histoire  politique,  morale,  et  religieuse  de  Beauvais.  1840.  2  vols 
8vo. 

BEAUVAIS   (CATHEDRAL) 

Gnstave  Desjardins.  Histoire  de  la  cathedrale  de  Beauvais.  Beauvais,  Victor  Pineau, 
1865.     4to.  —  Of  value  for  the  history  of  the  construction  subsequent  to  the  year  1225. 

P.  C.  Barraud.     Beauvais  et  ses  monuments.     (Bulletin  monumental,  Vol.  27,  passim.) 

P.  C.  Barraud.  Description  des  deux  grandes  rosaces  de  la  cathedrale  de  Beauvais.  (So- 
ciete Academique  d 'Archeologie  .  .  .  du  Departement  de  I'Oise,  Memoires,  Vol.  I,  p.  225.) 

P.  C.  Barraud.  Description  des  vitraux  des  chapelles  de  la  cathedrale  de  Beauvais.  (So- 
ciete Academique  d 'Archeologie  .  .  .  du  Departement  de  I'Oise,  Memoires,  Vol.  Ill,  p.  50.) 

P.  C.  Barraud.  Description  des  vitraux  des  hautes  fenetres  du  choeur  de  la  cathedrale 
de  Beauvais.  (Societe  Academique  d 'Archeologie  .  .  .  du  Departement  de  I'Oise,  Memoires, 
Vol.  Ill,  p.  277.) 

Gilbert.     Description  historique  de  I'eglise  cathedrale  de  Beauvais. 

BEAUVAIS   (ST.  ETIENNE) 

P.  C.  Barraud.  Description  des  vitraux  de  I'eglise  St.  Etienne  de  Beauvais.  (Societe 
Academique  d 'Archeologie  .  .  .  du  Departement  de  I'Oise,  Memoires,  Vol.  2.  p.  537.) 

BEAUVAIS   (ST.   GILLES) 

P.  C.  Barraud.  Notice  sur  I'eglise  et  la  paroisse  de  St.  GUles  a  Beauvais.  (Societe  Aca- 
demique d 'Archeologie  .  .  .  du  Departement  de  I'Oise,  Memoires,  Vol.  5,  p.  44.)  — A  mediocre 
account. 

BEAUVAIS   (ST.   LUCIEN) 

Daniel.  Notice  sur  I'ancienne  abbaye  de  St.  Lucien  de  Beauvais.  (Memoires  de  la  So- 
ciete des  Antiquaires  de  Picardie,  tome  VIII,  1845,  p.  123.)  —  Contains  a  good  deal  of  valuable 
information. 

BEAUVAL. 

Georges  Durand.  L'eghse  de  Beauval.  (Memoires  de  la  Societe  des  Antiquaires  de  Pic- 
ardie, 4me  serie,  tome  I,  p.  363.)  —  An  adequate  accoimt  with  three  illustrations. 

Dusevel.  Deux  inscriptions  dans  I'eglise  de  Beauval.  (Bulletin  de  la  Societe  des  Anti- 
quaires de  Picardie,  tome  VII,  p.  60.) 

bf:lleme 

Ph.  de  Chennemeres.  L'eglise  St.  Sauveur,  a  Belleme.  Nogent-le-Rotrou,  Imp.  Gou- 
verneur,  1869. 

Dr.  Jousset.     Le  vieux  Saint-Sauveur  de  Belleme.     (Echo  de  I'Orne,  1869.) 

BERNAY 

G.  Bonet.     L'abbaye  de  Bernay.     (Bulletin  monumental,  1885.) 

441 


W\ 


BIBLIOGRAPHIES 

BERZY 

De  Laprairie.  Berzy,  son  eglise  et  son  chateau.  (Bulletin  de  la  Societe  Archeologique 
de  Soissons,  lere  serie,  tome  TV,  p.  119.) 

De  Laprairie.  L'eglise  de  Berzy-le-Sec.  (Bulletin  de  la  Societe  Archeologique  de  Sois- 
sons, lere  serie,  1849,  tome  III,  p.  49.)  —  "Quelques  pages  interessantes."     (Lefevre-Pontalis.) 

BINSON 

Lucot.     L'eglise  de  Binson  et  sainte  Posenne.     Chalons-sur-Mame,  1882.     8vo. 

BITRY 

Graves.  Notice  sur  l'eglise  de  Bitiy.  (Annuaire  de  1 'Oise,  1840,  Canton  d'Attichy, 
p.  62.) 

BONPORT 

Emile  ChevaUier.  Notre  Dame  de  Bonport.  fitude  archeologique  sur  une  abbaye  nor- 
mande  de  I'ordre  de  Citeaux.  Paris,  Firmin-Didot,  1904.  4to.  —  "Un  modele  d'une  [jerfec- 
tion  achcvee."     (Coutan.) 

Emile  ChevaUier.     Guide  a  I'abbaye  de  Bonport.     Pont-de-l'Arche,  Claude,  1906.     Svo. 

BOCHER\-ILLE 

A.  Bcsnard.  Monographie  de  l'eglise  et  de  I'abbaye  St.  Georges  de  Boscherville.  Paris, 
Lechevalier,  1899.     4to. 

Coutan.  Saint-Georges-de-Boschen-ille  d'apres  M.  A.  Besnard.  Sotteville-les-Rouen, 
1899.    Svo. 

AchlUe  Deville.  Essai  historique  et  descriptif  sur  l'eglise  et  I'abbaye  de  St.  Georges-de- 
Boscher\nlle,  pres  Rouen.  Rouen,  Nicetas  Periaux  Jeune,  1827.  Foho.  —  Contains  a  valu- 
able study  of  the  historical  sources. 

BRAY-SUR-SO:\rME 

Hector  Josse.  Histoire  de  la  ville  de  Bray-sur-Somme.  (Memoires  de  la  Societe  des 
Antiquaires  de  Picardie,  3me  serie,  tome  VII,  1882,  p.  184.)  —  Contains  a  fairiy  adequate  de- 
scription of  the  church. 

J.  Gosselin.  Notice  descriptive  et  historique  sur  1  'eglise  Saint  Nicolas  de  Bray.  Amiens, 
Leonel-Heronart,  1852.     Svo. 

BRESTOL 

Philippe  Lemaiire.    Notice  sur  Brestol.     1854. 

BREUH^BENOlT 

J/.  Berger  de  Xivrey.    Histoire  de  I'abbaye  du  Breuil-Benoit.     Svo. 

BRIOUZE 

Ahhe  Sourdel.     St.  Hilaire  de  Briouze.     (Bulletin  de  la  Societe  Historique  de  rOme,  tome 

xn.) 

BOURGES 

Martin  et  Cahier.  Monographie  de  1  'eglise  metropohtaine  de  Bourges.  Paris,  Poussielgue- 
Rusand,  1841-44.  Great  folio.  —  A  monumental  work  on  the  XTTT  century  stained  glass  of 
Bourges,  with  magnificent  plates  in  color. 

Albert  des  iletoizes.  Les  vitraux  peints  de  la  cathedrale  de  Bourges  posterieurs  au  XTTT 
siecle.     Paris,  1891-97.     Folio.  —  A  monumental  work  on  the  stained  glass  of  the  later  periods. 

442 


C.     MONOGRAPHS 

A.  Buliot  de  Kersers.  Les  chapelles  absidiales  de  la  catliedrale  de  Bourges.  (Bulletin 
monumental.  Vol.  40,  p.  417.) 

Albert  des  Mehizes.  Note  sur  un  tres  ancien  vitrail  de  la  cathedrale  de  Bourges.  (Soci- 
ete  des  Antiquaires  du  Centre,  Memoires,  Vol.  4,  1873,  p.  193.) 

A.  T.  Girardot.  Description  des  sculptures  du  portail  de  la  cathedrale  de  Bourges  avant 
leur  restauration.      (Societe  des  Antiquaires  du  Centre,  Memoires,  Vol.  7,  1878,  p.  249.) 

R.  Marguerye.  Le  grand  incendie  de  la  cathedrale  de  Bourges.  Moeurs  administratives 
au  XVI  siecle.      (Memoires  de  la  Societe  des  ^Antiquaires  du  Centre,  Vol.  17,  1890,  p.  177.) 

A.  N.  DidroH.  Rapport  sur  les  travaux  executes  a  la  cathedrale  de  Bourges  avant  1848. 
(Societe  des  Antiquaires  du  Centre,  Memoires,  Vol.  16,  1889,  p.  171.) 

Romelot.     Description  liistorique  et  monumentale  de  I'eglise  metropolitaine  de  Bourges. 

Anonymous.  Guide  du  voyageur  dans  la  ville  de  Bourges.  Bourges,  A.  Auxenfane,  no 
date.  —  Very  poor. 

Pierquin  de  Genihloux.     Guide  de  I'antiquaire  dans  Bourges. 

CAEN 

V.  Ruprich-Robert.     L'eglise  Ste.  Trinite  et  I'eghse  St.  Etienne  a  Caen.     Caen,  1864. 

E.  R.  de  Beaurepaire.     Caen  iUustre,  son  histoire,  ses  monuments.     1896.     FoHo. 

A.  Jolly.  Notes  et  etudes  sur  les  eghses  de  St.  Pierre  de  Caen  et  de  Notre-Dame-de-Froide- 
Rue.     Caen,  1875.     8vo. 

Pepin.     Monographic  de  I'egKse  St.  Gilles  de  Caen. 

C.  A.  Bouet.  Analyse  architecturale  de  I'abbaye  de  St.  Etienne  de  Caen.  (Bulletin  mon- 
umental. Vol.  31,  33,  passim.) 

Vautier.  Histoire  de  la  ville  de  Caen  depuis  son  origine  jusqu'a  nos  jours  contenant  la 
description  des  monuments.     Caen,  1843.     12°. 

L.  de  Joliinetvt.     Monuments  de  Caen.     1825.     4to. 

C.  A.  Bouet.  Nouvelles  observations  sur  les  voutes  de  I'abbaye  de  Saint  fitienne  de  Caen. 
(Bulletin  monumental.  Vol.  28,  p.  57.) 

J.  H.  Parher.  On  the  abbey  churches  at  Caen.  (Royal  Institute  of  British  Architects, 
Papers,  1863,  p.  90.) 

.7.  H.  R.  Bordeaux.  Etudes  heraldiques  sur  les  anciens  raionuments  religieux  et  civils  de 
la  ville  de  Caen.     (Bulletin  monumental.  Vol.  12,  p.  461.) 

Abbe  de  la  Rice.  Essais  liistoriques  sur  la  %'ille  de  Caen  et  son  arrondissement.  Caen, 
Mancel,  1820.     2  vols.     8vo. 

C.  Hippeau.  L'abbaye  de  St.  Etienne  de  Caen,  1066-1790.  Caen,  A.  Hardel,  1855.  4to. 
—  Of  no  value  from  an  architectural  standpoint. 

Trehutien.     Caen,  son  histoire,  ses  monuments,  son  commerce,  ses  environs. 

CELLES-ST.-EUSICE 

J.  de  Witte.  Notice  sur  l'eglise  abbatiale  de  CeUes-St.-Eusice.  (Memoires  de  la  Societe 
Archeologique  de  1 'Orleannais,  tome  I,  1851,  p.  1.)  —  Contains  a  reprint  of  a  XVII  century 
description. 

CERSEUCL 

Prioux.  Notice  sur  l'eglise  de  Cerseuil.  (Bulletin  de  la  Societe  Archeologique  de  Sois- 
sons,  lere  serie,  tome  XVI,  p.  24.) 

CH.ALONS-SUR-MARNE 

Louis  Grignon.  Notre-Dame-en-Vaux  a  Chalons-sur-Marne.  (Bulletin  monumental, 
Vol.  53,  p.  439.) 

A.  de  Dion.  Notre-Dame-en-Vaux  a  Chalons-sur-Marne.  (Bulletin  monumental.  Vol. 
.52,  p.  547.) 

443 


BIBLIOGRAPHIES 

E.  M.  de  Barthelemy.  Notre-Dame-en-Vaux  <le  Chalons-sur-Marne.  (Revue  de  I'art 
Chretien,  Vol.  15,  p.  97.) 

-•1.  N.  Didron.  Les  verricres  de  la  redemption  a  Xotre-Dame  de  Chalon.s-sur-Mame. 
(Annales  archeologiques.  Vol.  23,  p.  69.) 


CHAISE-DIEU 

Faufon.  Notice  sur  la  construction  dc  I  'eglise  de  la  Chaise-Dieu.  (Bulletin  archeologique, 
1885,  p.  418.) 

CHA^NIPAISSANT 

J.  Vavasseur.  Champaissant  religieux  et  feodal.  (Revue  historique  et  archeologique 
du  Maine,  tome  LIX,  1906,  p.  117.)  —  Contains  a  brief  description  of  the  church. 

cha:\ip.\gxe 

Jules  Chappee.  L'ahbaye  de  Champagne  (Sarthe),  etat  artucl.  (Re\Tie  historique  et  arche- 
ologique du  Maine,  Vol.  61,  1896,  p.  '266.)  —  A  brief  description. 

J.  Chappie.  Le  carrelage  de  I'abbaye  de  Champagne  (Sarthe).  (Revue  de  I'art  chretien, 
47me  Annee,  1904,  p.  349.)  —  An  adequate  account. 

CHAMPEAUX 

Pierre  Gusman.  L'eglise  collegiale  de  Champcaux.  (Gazette  des  beaux-arts,  ser.  3,  Vol. 
36,  1901,  p.  154.) 

CHARCRISE 

Primix.  L'eglise  de  Charcrise.  (Bulletin  de  la  Societe  Archeologique  de  Soissons,  I  ere 
serie,  tome  XIX,  p.  143.) 

CH-lTEAU-DU-LOIRE 

Robert  Charles.  St.  Guingalois,  ses  reliques,  son  cultc,  et  son  prieure  a  Chateau-du-Loire. 
(Revue  archeologique  du  Maine,  tome  V,  1879,  p.  75.)  —  Adequate. 

CHATEAUDUN 

E.  Leferre-Pontalis.  Etude  archeologique  sur  I'egKse  de  la  Madeleine  de  Chateaudun. 
(Bulletin  de  la  Societe  Dunoise,  tome  V,  1888,  p.  '299.) 

ciuteaumeillant 

F.  Dcshouliires.  Saint  Genes  de  Chateaumeillant.  (Bulletin  monumental.  Vol.  70,  1906, 
p.  91.) 

CHARTRES 

E.  Lejevre-Pontalis.  Les  architectes  et  la  construction  des  cathedrales  de  Chartres.  Paris, 
1905.  8vo.  (Extrait  des  Meraoires  de  la  Societe  Nationale  des  Antiquaires  de  France,  tome 
LXrV.)  —  A  study  of  great  importance. 

E.  Lejevre-Ponialis.  Le  facades  successives  de  la  cathedrale  de  Chartres  au  XI  et  au  XII 
siecles.     Caen,  Delesque,  1902.     8vo.  —  A  monograph  of  great  value. 

Rene  ilerlet.  Les  architectes  de  la  cathedrale  de  Chartres  et  la  construction  de  la  cha- 
pelle  de  Saint  Piat.     (Bulletin  monumental,  Vol.  70,  1906,  p.  218.) 

Abbe  Bulteau.  ^Monographic  de  la  cathedrale  de  Chartres.  Chartres,  1888.  2  vols. 
8vo.  —  Contains  the  most  exhaustive  study  of  the  hterarj-  sources  that  has  yet  been  made.  The 
quotations,  however,  are  all  translated  (often  with  undue  freedom),  and  httle  attempt  is  made  to 

444 


C.     MONOGRAPHS 

reconcile  the  texts  with  the  archaeology  of  the  building.  The  new  edition  of  1891  in  3  vols, 
with  bibliography  is  said  to  be  greatly  improved. 

Paul  Durand.  Monographic  de  Notre  Dame  de  Chartres.  Paris,  Imprimerie  Nationale, 
1881.  2  vols.  4to  and  great  folio.  The  plates  of  this  work,  though  not  as  numerous  as  might 
be  desired,  are  sumptuous;  the  text  is  of  slight  value. 

Le  Secq.  Fragments  d 'architecture  et  sculpture  de  la  cathedrale  de  Chartres.  Brux- 
elles,  Aug.  Vandermolen  et  Cie.,  no  date.  Folio.  —  Fine  photogravures,  principally  of  the  sculp- 
tures. 

L.  E.  Lefevre.  Le  portail  sud  de  la  cathedrale  de  Chartres.  (Revue  de  I'art  chretien, 
1907,  p.  100.) 

Henri  Stein.  Jean  Auxtabours,  architecte  de  la  cathedrale  de  Chartres.  (Announced 
for  publication  in  the  Bulletin  monumental,  1907.) 

J.  B.  A.  Lassus.  Monographic  de  la  cathedrale  de  Chartres.  Publiee  par  les  soins  du 
ministre  de  Finstruction  publique.     Paris,  1867-81.     2  vols.     Folio. 

Maurice  Lanore.  Reconstruction  de  la  fafade  de  la  cathedrale  de  Chartres  au  XII  siecle. 
Etude  chronologique.     (Revue  de  I'art  chretien.  Vol.  48,  49,  passim.)  — An  able  study. 

A.  Clerval.  Guide  Chartrain.  Chartres,  sa  cathedrale,  ses  monuments.  Chartres,  Maison 
des  Clercs  de  Notre  Dame  de  Chartres,  [1896].  12°.  —  A  handy  pocket  guide,  tolerably  accu- 
rate. 

H.  J.  L.  J.  Masse.  City  of  Chartres:  its  cathedral  and  churches.  London,  George  Bell, 
1900.     12°.     Bell's  handbooks  to  continental  churches.  —  Unsatisfactory. 

P.  B.  Joanne.  Chartres.  Extrait  du  guide  Joanne.  Paris,  1900.  24°.  —  The  account 
of  the  cathedral  is  entirely  misleading. 

A.  Moutie.  Notice  sur  la  station  de  Chartres.  Chemin  de  fer  de  I'ouest.  Chartres, 
Gamier,  1851.     8vo.  —  A  guide,  distinctly  popular  in  character. 

F.  de  Mely.  Etudes  iconographiques  sur  les  vitraux  du  XIII  siecle  de  la  cathedrale  de 
Chartres.     Lille,  Desclee  de  Brouver  et  Cie,  1888.     4to. 

Felicie  d'Ayzac.  Les  statues  du  porche  septentrional  de  Chartres.  Paris,  A.  Leleux, 
1849.     8vo.  —  Clever,  but  misleading. 

Marignan.  Le  portail  occidental  de  Notre  Dame  de  Chartres.  (Moyen  age.  Vol.  11, 
1898,  p.  341.)  —Misleading. 

A.  N.  Didron.  Monographic  de  la  cathedrale  de  Chartres.  (Annales  archeologiques. 
Vol.  27,  p.  18.) 

Abbe  Bulteau.  Description  de  la  cathedrale  de  Chartres,  suivie  d'une  courte  notice  sur 
les  eglises  de  St.  Pierre,  de  St.  Andre,  et  de  St.  Aignan.  Chartres,  Harnier,  1850.  8vo.  —  Super- 
seded by  the  same  author's  'Monographic.' 

S.  N.  Vansittart.     Cathedral  of  Chartres.     (Architectural  Review,  Vol.  9,  1901,  passim.) 

Gilbert.  Description  historique  de  I'eglise  cathedrale  de  Chartres.  Nouvelle  edition, 
Chartres,  1824. 

Chapuy.  Vues  pittorcsqucs  de  la  cathedrale  de  Chartres.  Paris,  Engelmann,  1828. 
Folio.  —  The  drawings  show  the  condition  of  the  church  in  the  early  XIX  century. 

Doublet  de  Boisthibault.     Memoire  sur  la  cathedrale  de  Chartres. 

Sebastien  Rouillard  de  Melun.  Parthenie,  ou  histoire  de  la  tres  auguste  eglise  de  Chartres. 
1608. 

F.  de  Mely.  La  cathedrale  de  Chartres;  le  tour  du  choeur.  Paris,  E.  Plon,  Mourret,  et 
Cie,  1890.     8vo.  —  Unpretending. 

De  Salvaudy.    La  statistique  de  la  cathedrale  de  Chartres. 

CHERBOURG 

Fleury  et  Valee.  Cherbourg  et  ses  environs.  Nouveau  guide  du  voyageur  a  Cherbourg. 
1839. 

Abbe  Goron.  Cherbourg.  Eglise  Ste.  Trinite;  notice  historique.  Cherbourg,  Librairie 
Garot,  1886. 

445 


BIBLIOGRAPHIES 

CHEZAI^BENOIT 

Deslioidieres.  L 'eglise  abbatiale  de  Chezal-Beuoit  (Cher).  (Bulletin  Monumental  LXXI, 
1907,  p.  287.)  —  An  admirable  description. 

CHR^' 

E.  LejevTc-Ponialis.  Etude  sur  les  chapiteaux  de  1 'eglise  de  Chivy.  4to.  (E.\trait  de 
la  Gazette  archeologique  de  1887.) 

CINTHEAUX 

Abbe  Lecointe.  Histoire  de  I 'eglise  St.  Germain  a  Cintheaux.  Caen,  Leblanc-Hardel, 
1877. 

COMPEEGNE 

Lambert  de  Ballijhier.  Compiegne  historique  et  monumental.  Compiegne,  Langlois, 
1842.     8vo.  —  Of  little  value  for  the  student  of  architecture. 

Ewig.  Compiegne  et  ses  en\irous.  1836.  —  There  is  a  description  of  Morienval  on 
p.  199. 

CONCHES 

A.  BouiUet.  L'egUse  Ste.  Foy  de  Conches  (Eure\  et  ses  vitrau.x.  fitude  historique  et 
archeologique.  Caen,  Henri  Delesques,  1889.  12°.  PubUshed  also  in  the  Bulletin  monumen- 
tal. Vol.  54,  pp.  131,  253.  —  Leaves  much  to  be  desired. 

Abbe  Poree.  Notice  sur  un  vitrail  de  Ste.  Foy  de  Conches,  representant  le  triomphe  de 
la  Sainte  Vierge.     Tours. 

CONGfi-SUR-ORXE 

Abbe  L.  Froger.  La  paroisse  de  Conge-sur-Ome,  d'apres  les  comptcs  de  fabrique.  (Revue 
historique  et  archeologique  du  Maine,  tome  XXXIV,  1896,  p.  277.)  —  An  adequate  descrip- 
tion, unillustrated. 

CORBIE 

BouthoTS.  Notice  historique  sur  la  commune  de  Corbie.  (Memoires  de  la  Societe  des  An- 
tiquaires  de  Kcardie,  tome  II,  1839,  p.  295.) 

COUCY-LE-CH.\TEAU 

A.  Vernier.  Histoire  du  canton  de  Coucy-le-Chateau.  Paris,  Dumouhn,  1876.  8vo.  — 
The  best  pubUcation  of  several  rural  churches  in  the  neighborhood  of  Coucy-le-Chateau. 

COUTANCES   (ARRONDISSEMENT) 

Renault.  Revue  monumentale  et  historique  de  I'arrondissement  de  Coutances.  Saint 
L6,  1860.     8vo. 

COLTANCES   (CATIIEDIt\L) 

Abbe  Pigeon.  Histoire  de  la  cathedrale  de  Coutances.  Coutances,  Salettes  Fils,  1876. 
8vo.  —  The  original  pubhcation  of  the  remains  of  the  XI  centurj'  edifice. 

Abbe  Delamarc.  Essai  sur  la  veritable  origine  et  sur  les  vicissitudes  de  la  cathedrale  de 
Coutances.  Caen,  A.  Hardel,  1841.  4to.  —  An  attempt  to  prove  that  the  existing  cathedral 
dates  from  the  XI  centurj!  !  ! 

cr£-sur-loire 

Sebastien  de  la  Bouillerie.  Cre-sur-Loire,  canton  de  La  Fleche.  (Re%-ue  historique  et 
archeologique  du  Maine,  tome  XXIX,  1891,  p.  27.)  —  A  mediocre  account,  unillustrated. 

446 


C.     MONOGRAPHS 

CREIL 

Maihon.  Notice  historique  sur  la  \'ille  de  Creil  et  sur  son  ancien  chateau.  (Societe  Aca- 
demique  d 'Archeologie  .  .  .  du  Departement  de  I'Oise,  Memoires,  Vol.  4,  p.  590.) 

CROSNli3RES 

Sebastien  de  la  Bouillerie.  Monographie  de  la  paroisse  et  commune  de  Crosnieres.  (Revue 
historique  et  archeologique  du  Maine,  tome  XII,  188'2,  p.  159.)  —  Contains  an  inadequate  de- 
scription of  the  church,  accompanied  by  one  poor  drawing. 

CROUTTES 

Varin.  Notes  sur  1  'eglise  de  Crouttes.  (Annales  de  la  Societe  Archeologique  de  Chateau- 
Thierry,  1892,  p.  190.) 

CROUY 

De  Laprairie.  Notice  sur  1 'eglise  de  Crouy.  (Bulletin  de  la  Societe  Archeologique  de 
Soissons,  lere  serie,  tome  XV,  p.  153.) 

CUISE 

Graves.  Notice  sur  1 'eglise  de  Cuise.  (Annuaire  de  I'Oise,  1840,  Canton  d'Attichy, 
p.  72.) 

DAMVILLE 

Ange  Petit.     Notes  historiques  sur  I'origine,  les  seigneurs,  le  fief,  et  le  bourg  de  Damville. 

DIEPPE 

Louis  Letwrmand.     Notice  historique  sur  I'eglise  St.  Jacques  de  Dieppe. 
Asseline.     Antiquitez  et  chroniques  de  Dieppe. 
Cochet.     Les  eglises  de  1  'arrondissement  de  Dieppe. 
Gvibert.     Memoires  sur  Dieppe. 

A.  Maugendre.  Dieppe  et  ses  environs.  Vues.  Dieppe,  Slarais,  1860.  4to.  —  Of  no 
value. 

DOMFRONT 

F.  Liard.  Histoire  de  Domfront  ou  recueil  de  nombreux  documents  sur  Domfront  depuis 
les  origines  jusqu'a  nos  jours.     Domfront,  1865.     8vo. 

DOULLENS 

Oeorges  Durand.  Eglise  St.  Pierre  de  Doullens.  (Memoires  de  la  Societe  des  Antiquaires 
de  Picardie,  3me  serie,  tome  IX,  1887,  p.  571.)  —  An  illustrated  accoimt  which  unfortunately 
contains  several  inaccuracies. 

Lefevre.  Histoire  des  communes  rurales  du  canton  de  Doullens.  (Memoires  de  la  Soci- 
ete des  Antiquaires  de  Picardie,  3me  serie,  tome  IX,  1887,  p.  123.)  —  Contains  some  informa- 
tion and  some  misinformation  on  the  architecture  of  the  district. 

Dusevel.  Lettre  a  M.  le  Comte  de  B.  .  .  .  sur  les  antiquites  de  1 'arrondissement  de  Doul- 
lens.    (La  Picardie,  tome  XIII,  1867,  p.  99.) 

Dusevel.  Notice  sur  I'eglise  St.  Pierre  de  Doullens.  (Li  La  Picardie,  tome  XI,  1865, 
p.  529.     Also  in  L'Authie  of  Jan.  28,  1866.) 

Dusevel.  Notes  sur  les  principales  communes  de  I'arrondissement  de  Doullens.  (La 
Picardie,  tome  X,  1864,  p.  104.) 

447 


BIBLIOGRAPHIES 
DREUX 

Emmanuel  Patty.  Histoire  monumentale  de  Dreux.  (Bulletin  monumental.  Vol.  16, 
1850,  p.  178.)  —  An  excellent  notice. 

DREVANT 

De  Caumont.     Courte  visite  a  Drcvant  (Cher)  en  1S65. 

DUCL.4IR 

P.  dcs  Forts.  L'eglise  de  Duclair  (Seine-Inferieure).  (Bulletin  Monumental  LXXI,  1907, 
p.  307.)  —  An  excellent  publication. 

fiPAU 

A.  Ricordeau.  L'abbaye  de  I'Epau  du  XIII  an  XV  siecle.  (Re%Tie  historique  et  archeo- 
logique  du  Maine,  tome  XXXV,  1894,  p.  55.)  —  An  adequate  publication  with  many  mediocre 
drawings. 

Anont/mous.  L'abbaye  de  I'Epau.  (Re\'ue  historique  et  archeologique  du  Maine,  tome 
Lr\'.  1903,  p.  183.)— A  readable  resume. 

fiTAJMPES 

E.  Lefevre-Pontalis.  Le  dcambulatoire  champenois  de  St.  ^lartin  d'fitampes.  (Bulle- 
tin monumental,  ^"ol.  69,  1905,  p.  :239.)  —  An  excellent  monograph. 

L.  Eugene  Lefevre.  Etampes  et  ses  monuments  aux  XI  et  XII  siecles.  Memoire  pour 
servir  a  I'etude  archeologique  des  plus  auciens  monuments  etampois.  (Annales  de  la  Societe 
Historique  et  Archeologique  du  Gatinais,  1907.)  — An  historical,  rather  than  an  architectural 
study.     Several  of  M.  Lefe\Te's  dates  arc  open  to  serious  question. 

A.  St.  Paul.     Notre  Dame  d 'Etampes.     (Gazette  archeologique,  1884,  p.  215.) 

Leon  Marquis.  Les  rues  d'Etampes  et  ses  monuments.  £tamf>es,  Briere,  1881.  8vo. 
—  The  archaeology  is  misleading. 

EU 

Desire  le  Beuj.     La  \-ille  d'Eu.     1844. 

EVREl^s: 

Jules  Fossey.     Monographie  de  la  cathedrale  d'fivreux.     1898.     4to. 
A.  St.  Paul.     Le  cas  de  la  cathedrale  d'Evreux.     (Bulletin  monumental.  Vol.  43,  1876, 
p.  545.)  —  Contains  an  excellent  resume  of  the  history  of  the  monument. 

Abbe  Poree.     Les  clotures  des  chapelles  de  la  cathedral  d'E\Teux.     E^tcu-x,  Herissey,  1890. 
La  Batelier  d'Aviron.     Memorial  historique  des  Evesques,  ^dlle,  et  comte  d'Evreux. 

FALAISE 

Jules  Girard.    Les  Falaises  de  la  Manche.     Paris,  Ernest  Leroux.     8vo. 

Louis  Regnier.     Falaise  et  la  vallee  d'Auge.     (^Vnnuaire  normand,  189-2.) 

Langevin.     Recherches  historiques  sur  Falaise. 

Paul  Bourgeois.  Nouvel  albimi  Falaisien.  Falaise,  Imprimerie  Trolonge-I-evavasseirr,  1872. 

FfiCAMP 

Jules  Quicheral.  Essai  historique  et  litteraire  sur  l'abbaye  et  sur  la  ville  de  Fecamp; 
compte-rendu  critique.     (Bibhotheque  de  I'Ecole  des  Charles,  1839,  lere  serie,  I,  579.) 

LA  FERTfi-BERNARD 

C.  L.  Moranee.  Notice  sur  les  verrieres  de  I'^lise  de  la  Ferte-Bemard  (Sarthe).  (Bulle- 
tin Monumental,  Vol.  5,  p.  497.) 

448 


C.     MONOGRAPHS 

lA   FERTfi-MACE 

De  Contades.     Le  prieure  de  la  Ferte-Mace. 

Appert  et  Bernier.     Essai  sur  le  prieure  et  la  baronnie  de  la  Ferte-Mace. 

M.  L.  Duval.     La  Ferte-Mace  jusqu'  a  la  Lique.      (L'avenir  de  I'Orne,  Sept.  11,  1887.) 

FOLLEVILLE 

Ch.  Bazin.  Description  historique  de  I'eglise  et  des  ruines  du  chateau  de  FoUeville  (Som- 
-me).  Memoires  de  la  Soeiete  des  Antiquaires  de  Picardie,  tome  X,  1850,  p.  1.)  — A  detailed 
description  still  of  value. 

FONTAINE-SUR-SOMME 

Ahhe  le  Seur.  Fontaine-sur-Sonune.  Notice  historique.  (Memoires  de  la  Soeiete  des 
Antiquaires  de  Picardie,  4me  serie,  tome  I,  1891,  p.  181.)  —  Contains  an  adequate  account  of 
the  church,  with  three  illustrations. 

FRESNAY-SUR-SARTHE 

E.  Lefevre-Pmitalis.  L'eglise  de  Fresnay-sur-Sarthe.  (Revue  historique  et  archeologique 
du  Maine,  tome  LI,  1902,  p.  21.)  — An  excellent  account  with  illustrations. 

GAILLON 

Coquelle.  Eglise  de  Gaillon,  pres  Meulan.  (Commission  des  antiquites  et  des  arts  de 
Seine-et-Oise,  1907,  p.  72.) 

G-4MACHES 

M.  F.  I.  Darsy.  Description  archeologique  et  historique  du  canton  de  Gamaches.  (Me- 
moires de  la  Soeiete  des  Antiquaires  de  Picardie,  2me  serie,  tome  V,  1858,  p.  157.)  —  Disap- 
pointing. 

GLENNES 

E.  Lefevre-Pontalis.  fitude  archeologique  sur  l'eglise  de  Glennes.  8vo.  (Extrait  du 
Bulletin  de  la  Soeiete  Archeologique  de  Soissons,  23  serie,  tome  XV,  1885.) 

GONESSE 

E.  Lejevre-Pcmtalis.  Notices  archeologiques  sur  les  eglises  de  Santeuil  et  de  Gonesse. 
8vo.  (Extrait  des  Memoires  de  la  Soeiete  historique  de  Pontoise  et  du  Vexin,  tomes  X,  XI,  1886, 
1887.) 

GRAND  ANDELY 

E.  A.  Didron.    Les  vitraux  du  Grand  Andely.     (Annales  archeologiques.  Vol.  22,  p.  260.) 

GRAVILLE 

Albert  Maef.  Guide  a  I  'eglise  et  a  1  'ancien  prieure  de  Graville-Ste-Honorine.  Le  Havre, 
Micaux,  1892. 

GRCEZ-SUR-ROC 

Em.  VavasseuT.  L'eghse  St.  Almire  de  Greez-sur-Roc.  (Revue  historique  et  archeo- 
logique du  Maine,  tome  XLIX,  1901,  p.  157.)  —  An  adequate  notice  with  three  poor  illustrations. 

Em.  Vavasseur.  Un  moine  du  Maine  au  XI  siecle.  (Revue  historique  et  archeologique 
du  Maine,  tome  XLVIII,  1900,  p.  254.)  —  Contains  a  description  of  the  church  at  Greez-sur- 
Roc.     (Sarthe.) 

449 


BIBLIOGRAPHIES 

HAAI 

Charles  Gomart.  Etude  sur  I  'eglise  et  la  crypte  de  Notre  Dame  de  Ham.  (Revue  de  1  'art 
Chretien,  Vol.  8,  p.  277.) 

HAMBYE 

R.  Le  Conte.  Etudes  historiques  et  archeologiques  sur  les  abbayes  des  Benedictines  en 
general,  et  sur  celle  de  Hambye  en  particulier.     Bernay,  1890. 

HARDRICOURT 

E.  Lejivre-Pontalis.  Notice  archeologique  sur  I'eglise  d 'Hardricourt.  (Bulletin  de  la 
Commission  des  Antiquites  et  des  Arts  de  Seine-et-Oise,  tome  V,  1885,  p.  103.) 

tURFLEUR 

J/.  P.  Viau.  Essai  historique  et  archeologique  sur  St.  Martin  d'Harfleur.  Le  Havre, 
Faure,  1844.     16°. 

Ch.  David.    Note  sur  le  clocher  d'Harfleur.     (Revue  de  Rouen,  Decembre,  1845.) 

LE  HAVRE 

Ahbe  Cocliet.    Les  eglises  de  1  'arrondissement  du  Havre. 

HEBfiCOURT 

Hector  Josse.  Notice  historique  sur  les  communes  de  Vers  et  d'Hebecourt.  (Memoires 
de  la  Societe  des  Aiitiquaires  de  Picardie,  4me  serie,  tome  I,  1891,  p.  1.)  —  Contains  notices  of 
the  churches  of  these  villages. 

HONFLEUR 

C.  N.  Normaiul.  Honfleur  a  travers  les  ages.  .  .  .  (L'ami  des  monuments  et  des  arts, 
1903,  Vol.  17,  p.  305.) 

JAMBET 

A.  Ic  Ouicheujc.  Les  eglises  de  St.  Christophe  du  Jambet  et  de  Segrie.  (Revue  historique 
et  archeologique  du  INIaine,  tome  X,  1881,  p.  260.)  —  A  valuable  notice,  unfortunately  too  brief. 

Eugene  Hucher.  Inscription  du  XIII  siecle  de  I'eglise  de  St.  Christophe  du  Jambet 
(Sarthe).  (Revue  archeologique  et  historique  du  Maine,  tome  VI,  1879,  p.  341.) — A  very 
brief  notice. 

JOUAIGNES 

Prioux.  Notice  sur  I'eglise  St.  Pierre  de  Jouaignes.  (Bulletin  de  la  Societe  Archeo- 
logique de  Soissons,  lere  serie,  tome  X\'I,  p.  37.) 

JTOIILGES 

Loth.     Histoire  de  I'abbaye  royale  de  Saint  Pierre  de  Jumieges. 

E.  H.  Langlois.  Essai  sur  les  enerves  de  Jumieges  et  sur  quelques  decorations  singulieres 
des  eglises  de  cette  abbaye.     Rouen,  1838.     8vo. 

Deshayes.     Histoire  de  Jumieges.     Rouen. 

JUVIGNY 

De  Laprairie.  Notice  sur  I'eghse  de  Juvigny.  (Bulletin  de  la  Societe  Archeologique  de 
Soissons,  lere  serie,  tome  XV,  p.  154.) 

450 


C.     MONOGUAPHS 
JUZIERS 

E.  Lefevre-Pontalis,  Monographic  des  eglises  de  Meulan  et  de  Juziers.  (Bulletin  de  la 
Commission  des  Antiquites  et  des  Arts  de  Seiiie-et-Oise,  tome  W,  1886,  pp.  100,  147.) 

LACONfi 

Robert.  Charles.  Essai  historique  et  archeologique  sur  St.  Georges  de  Lacone  et  sur  St. 
Praimbault  de  Gabroime  (Sarthe).     Au  Mans,  Pellechat,  1878.     8vo. 

LAFFAUX 

Priaux.  L'eglise  de  Laffaux.  (Bulletin  de  la  Societe  Archeologique  de  Soissons,  lere 
serie,  tome  XVIII,  p.  38.) 

LAIGNfi-EN-BELIN 

Henri  Roquet.  Recherehes  historiques  sur  Laigne-en-Belin  et  le  comte  de  Belin  et  Vaux. 
Le  Mans,  Momioyer,  1889.     8vo. 

LAIGLE 

Abbe  Goutier.    Saint  Martin  de  Laigle.     1896. 

LAON 

Auguste  Bouxin.  La  cathedrale  Notre-Dame-de-Laon.  Histoire  et  description.  Laon,, 
Cortilliot  et  Cie,  1890.     8vo.  —  A  short  monograph,  well  adapted  to  serve  as  a  traveler's  guide. 

De  Flmival  et  Midoux.  Les  vitraux  de  la  cathedrale  de  Laon.  Paris,  Didron,  1882. 
Folio.  —  An  important  work.     The  plates  are  not  colored. 

Marquiset.  figlise  de  Saint  Martin-au-Parvis,  a  Laon.  (Bulletin  de  la  Societe  Acade- 
mique  de  Laon,  1907,  p.  26.) 

Jules  Quicherat.  L'age  de  la  cathedrale  de  Laon.  (BibUotheque  de  I'Ecole  des  Chartes, 
Vol.  35,  1874.  p.  249.)     Tire  a  part  sous  le  meme  litre,  sans  lieu  ni  date.     8vo. 

J.  Marion.     Essai  historique  et  archeologique  sur  Notre  Dame  de  Laon. 

E.  Lemaifre.  Laon,  Guide.  Histoire,  monuments,  environs.  Laon,  Destres,  1896. 
12°.  —  Of  httle  value. 

Melleville.     Guide  de  I'etranger  a  Laon.     Laon,  Muet,  1866.     12°.  —  Of  no  value. 

Elizabeth  Robins  Pennell.  Notre  Dame  de  Laon.  (The  Century  Magazine,  Vol.  LXXIV, 
no.  1,  1907,  p.  19.)  —  Agreeably  written,  but  of  no  scientific  value. 

Daboval.  The  town  of  Laon.  A  short  historical  guide  .  .  .  translated  from  the  French 
by  Maud  Evelegh  Thorold.     Brighton,  Phillips,  1894.     Pamphlet.  —  Worthless. 

LARGNY 

De  Laprairie.  Notice  sur  l'eglise  de  Largny.  (Bulletin  de  la  Societe  Archeologique  de 
Soissons,  lere  serie,  tome  XIII,  p.  185.) 

LAVARDIN 

E.  Pillon.  Notice  sur  l'eglise  de  Lavardiu.  (Memoires  de  la  Societe  Archeologique  de 
rOrleannais,  tome  II,  1853,  p.  353.)  —  Contains  several  inaccurate  drawings. 

LAVARE 

E.  Toublet.  L'eglise  et  la  paroisse  de  Lavare  (Sarthe).  (Revue  historique  et  archeo- 
logique du  Maine,  tome  XLIII,  1898,  p.  54.)  —  An  adequate  description  with  three  unsatisfac- 
tory drawings. 

451 


BIBLIOGRAPHIES 

LHUYS 

Prwux.  Notice  sur  1  'eglise  de  Lhuys.  (Bulletin  de  la  Societe  Archeologique  de  Soissons, 
lere  serie,  tome  XVI,  p.  40.) 

LISIEUX 

Emile  Lamhin.  La  cathedrale  de  Lisieux.  (Revue  de  I'art  cliretien,  1896,  Vol.  45, 
p.  449.)  —  Very  brief. 

LOGES 

Gabriel  Fleury.  Note  archeologique  .sur  1  'eglise  des  Loges-en-Coudrecieux  (Sarthe) .  (Re- 
vue historique  et  archeologique  du  Maine,  tome  LI,  190"2,  p.  137.)  —  An  adequate  publication. 

LOMBRON 

ioitis  Frogcr.  La  paroisse  de  Lombron  de  1450  a  1789  d'apres  les  comptes  de  fabrique. 
(Revue  lii.storique  et  archeolofijique  du  Maine,  tome  XLI,  1897,  p.  86.)  —  A  description  of  the 
church  without  illustrations. 

LONLA  Y-L 'ABBA  YE 

Lejaverais.     Histoirede  Lonlay-l'Abbaye  et  .  .  .  de  Notre  Dame-sur-l'Eau.     1898.     8vo. 

LOm-IERS 

Paul  Dibon.     Essai  historique  sur  Louviers.     Rouen,  1836. 

IVLVMERS 

Gabriel  Fleury.  Le  prieure  et  1 'eglise  Notre  Dame  de  Mamers.  (Re^iie  historique  et 
archeologique  du  Maine,  tome  XXXVIII,  1895,  p.  269.)  —  A  satisfactory  account  poorly  illus- 
trated. 

Gabriel  Fleury.  Guide  illustre  pour  Mamers,  suivi  d'une  notice  sur  I'abbaye  de  Per- 
seigne.     Mamers,  1901.     8vo. 

G.  Fleury.  L'eglise  St.  Nicolas  de  Mamers.  (Revue  historique  et  archeologique  du 
Maine,  tome  XVII,  1885,  p.  241.)  —  A  description  accompanied  by  several  inadequate  drawings. 

Gabriel  Fleury.     Le  canton  de  Mamers. 

LE  MANS   (GENERAL) 

A.  Ledru.  Histoire  et  description  des  eglises  du  Mans.  Publication  du  ministere  de 
rinstruction  publique  et  des  beaux-arts.     Paris,  Plon-Nourrit,  1905-07. 

Leon  Hublin.  L'ancien  Mans  illustre.  Deuxieme  tirage.  Le  Mans,  Pellechat,  1887. 
Svo.  —  Contains  a  fairly  good  account  of  the  cathedral. 

Leon  Llublin.  Le  Mans  pittoresque.  Itineraire  du  promeneur  a  travers  la  ^neille  ville. 
Le  Mans,  Lebrault,  1884.     8vo. 

Robert  Charles.  Guide  illustre  du  touriste  au  Mans  et  dans  la  Sarthe.  Le  Mans,  Pelle- 
chat,  1880.     12°. —  An  excellent  guide-book. 

Dejault-ilartiniere.  Le  Mans  illustre.  Le  Mans,  A.  de  St.  Denis,  1898.  8vo.  —  "N'a 
point  de  pretention  a  1 'erudition." 

LE  MANS   (CATHEDRAL) 

Ambroise  Ledru.  La  cathedrale  St.  Julien  du  Mans.  Mamers,  Fleury  de  Dangin,  1900. 
Folio.  —  A  monumental  work,  although  it  is  to  be  regretted  that  disproportionate  space  has  been 
devoted  to  the  history  of  the  bishops. 

E.  Lejevre-Ponialis.     Etude  historique  et  archeologique  sur  la  nef  de  la  cathedrale  du 

452 


I 


C.     MONOGRAPHS 

IMans.  8vo.  (Extrait  de  la  Revue  historique  et  archeologique  du  Maine,  tome  XXV,  1889, 
p.  25.)  —  An  important  article  with  a  full  discussion  of  the  historical  sources. 

Eugetie  Hiicher.  Vitraux  peints  de  la  cathedrale  du  Mans.  Paris,  Didron,  1865.  Folio. 
—  A  monumental  work  with  colored  plates. 

Eugene  Hucher.  Caiques  des  vitraux  peints  de  la  cathedrale  du  Mans.  Paris,  Didron, 
1864.     Foho.  — A  standard  work,  and  a  supplement  to  the  above. 

Robert  Triger.  Note  sur  Jean  Lema^on,  maitre  des  oeuvres  de  la  cathedrale  du  Mans  en 
1397.  (Revue  historique  et  archeologique  du  Maine,  tome  X,  1881,  p.  363.)  —  Contains  infor- 
mation bearing  upon  the  history  of  the  cathedral. 

Persigan.     Recherches  sur  la  cathedrale  du  Mans.     Le  Mans,  1872.     Svo. 

A.  Dion.    La  nef  de  la  cathedrale  du  Mans.     (Bulletin  monumental.  Vol.  39,  p.  483.) 

Gustave  Esnautt.  Le  transept  septentrional  de  la  cathedrale  du  Mans.  Architectes  et 
bienfaiteurs,  1393-1430.     (Bulletin  monumental.  Vol.  45,  1879,  p.  63.)  —  An  adequate  study. 

Pascal  Verite-Lejevre-Pontalis.  Le  trace  du  choeur  de  la  cathedrale  du  Mans.  (Bulletin 
Monumental  LXXII,  1908,  p.  155.)  — Interesting  papers  with  a  plan  of  the  crypt. 

Leon  Hvblin.  La  cathedrale  du  Mans.  Aperfu  historique  et  descriptif.  Le  Mans,  Ed. 
Monnoyer,  1888.     Svo.  —  Of  shght  value. 

E.  F.  F.  Hucher.  Etudes  artistiques  et  archeologiques  sur  le  vitrail  de  la  rose  de  la  cathe- 
drale du  Mans.     (Bulletin  monumental.  Vol.  14,  p.  345.) 

Henri  Pallu.  Dissertation  sur  I'antiquite  d'une  des  verrieres  de  la  cathedrale  du  Mans 
representant  la  legende  de  St.  Protais  et  St.  Gervais.     (Bulletin  monumental,  Vol.  7,  p.  359.) 

Abhe  E.  L.  Dubois.  La  verriere  de  St.  Anne  et  de  la  Vierge  a  la  cathedrale  du  Mans.  (Re- 
vue archeologique  et  historique  du  Maine,  tome  XXXIH,  1893,  p.  25.) 

LE  MANS  (EGLISE  DU  PRfi) 

Jvles  Chappee.  Le  vitrail  de  la  chapelle  de  la  Vierge  (eglise  du  Pre,  au  Mans).  (Revue 
historique  et  archeologique  du  Maine,  tome  XXXIII,  1893,  p.  126.) 

LE  MANS   (LA  COUTURE) 

Abbe  E.  L.  Dubois.  L'eglise  de  Notre  Dame  de  la  Couture;  la  nef  et  la  fa9ade  occiden- 
tale.  (Revue  historique  et  archeologique  du  Maine,  tome  XXV,  1883,  p.  257.)  —  An  adequate 
notice. 

MAROLLES 

Abbe  Mailer.  Les  eglises  de  Marolles  et  d'Autheuil.  (Comite  Archeologique  de  Senlis, 
2e  serie,  tome  IX,  1884,  p.  30.) 

MEAUX 

I.  Taylor.  Le  cathedrale  de  Meaux.  Paris,  Firmin  Didot,  1858.  Folio.  —  The  cathe- 
dral deserves  a  better  monograph. 

D.  Toussainl  Duplessis.     Histoire  de  I'egUse  de  Meaux. 
Allan.    Notice  sm-  la  cathedrale  de  Meaux. 

MEULAN 

E.  Lefevre-Pontalis.  Monographic  des  eglises  de  Meulan  et  de  Juziers.  (Bulletin  de  la 
Commission  des  Antiquites  et  des  Arts  de  Seine-et-Oise,  tome  VI,  1886,  pp.  100,  147.) 

MONCEL 

E.  Lefeme-Pontalis.  L'abbaye  du  Moncel.  (Bulletin  Monumental  LXXII,  1907,  p. 
411.) — An  admirable  description  with  bibliography  and  numerous  illustrations. 

MONT-NOTRE-DAME 

Givelet.    Le  Mont-Notre-Dame.  Histoire  et  description.    Nouvelle  edition,  Lime,  1893.  Svo. 

453 


BIBLIOGRAPHIES 

Prioux.  Notice  sur  Mont-Notre^Dame.  (Bulletin  de  la  Societe  Archeologique  de  Sois- 
sons,  lere  serie,  tome  XVI,  p.  47.) 

MT.-ST.-MICHEL 

Edouard  Corroyer.  Description  de  I'abbaye  du  Mont-St. -Michel  et  de  ses  abords.  Paris, 
Dumoulin,  1877.  8vo.  —  Contains  the  best  study  of  the  historical  sources  that  has  yet  been 
made. 

Paid  Gout.  L'histoire  et  1 'architecture  franfaise  au  Mt.-St.-ISIichel.  Paris,  Aulanier 
et  Cie.,  1899.  8vo.  —  Valuable,  especially  for  the  nimierous  illustrations  in  half-tone;  the 
study  of  the  historical  sources,  however,  leaves  much  to  be  desired. 

H.  J.  L.  J.  Masse.  A  short  history  and  description  of  the  church  and  abbey  of  Mont-St.- 
Michel.     London,  George  Bell  &  Sons,  1902.     12°.     Bell's  Handbooks  to  Continental  churches. 

—  Of  very  indifferent  merit,  but  perhaps  the  best  work  in  English  on  the  subject. 

Le  Hericher.     Histoire  et  description  du  Mont-Saint-Michel.     Caen,  Georges  Lecrene, 

1848.     Folio.  —  Contains  some  fairly  good  drawings. 

E.  Peiyne.    Le  Mont-St. -Michel.     (La  construction  moderne.  Vol.  2,  1886,  pp.  345,  357.) 
Montgomery  Schuyler.    Arcliitectural  days;  Mont-St.  Michel.     (Architectural  Record,  Vol. 

11,  1902,  p.  9.) 

MONTMORENCY 

L.  Magne.    Les  vitraux  de  Montmorency  et  d'ficouen.     Paris,  1888. 

MORET 

A.  Pougeois.     L'antique  et  royale  cite  de  Moret-sur-Loing.     Paris,  Pougeois,  1875.     8vo. 

—  Of  little  value. 

MORIENVAL 

J.  A.  Brutails,  Lefcire-Pontalis.  Discussion  sur  les  voutes  du  chevet  de  Morienval.  (Bul- 
letin monumental.  Vol.  71,  1907,  pp.  160,  335.)  —  The  last  word  up  to  the  present  on  the 
Morienval  question.  M.  Lefe\Te-Pontalis  maintains  that  the  vaults  of  the  choir  and  ambulatory 
of  Morienval  are  contemporary,  and  date  from  1120-30,  while  M.  Brutails  sees  two  eras  of  con- 
.struction. 

John  Bilson.  Les  voutes  d'ogives  de  Morienval.  (Bulletin  Monumental  LXXH,  1908, 
p.  128.)  —  A  discussion  of  the  famous  vaults,  supporting  the  theories  of  M.  Lefevre-Pontalis. 

E.  Lefevre-Pontalis.  L'abbaye  et  I'eghse  de  Morienval.  (Bulletin  de  la  Societe  Histor- 
ique  de  Compicgne,  tome  IX,  1898.) 

E.  Lefevre-Pontalis.  La  question  de  IMorienval,  reponse  a  M.  Anthyme  St.  Paul.  (Cor- 
respondance  historique  et  archeologique,  1897,  pp.  193,  197.) 

A.  St.  Paul.  Morienval;  fin  d'une  question.  (Correspondance  historique  et  archeo- 
logique, 1897,  pp.  129,  161.) 

A.  St.  Paid.  Discussion  archeologique  sur  les  dates  de  I'eglise  de  Morienval.  (Memoire 
du  Comite  Archeologique  de  Senlis,  3e  serie,  tome  VII,  1892,  pp.  49-58.) 

C.  Enlart.  Le  style  gothique  et  le  deambulatoire  de  Morienval.  (Bibliotheque  de  I'ficole 
des  Chartes,  1894.) 

Ahhe  Darras.  L'eglise  a  Morienval.  (Bulletins  de  la  Societe  Archeologique  de  Soissons, 
lere  serie,  tome  II,  p.  112.)  —  "Renferme  un  grand  nombre  d'erreurs."     (Lefevre-Pontalis.) 

NAMPS-AU-VAL 

M.  J.  Oamier.  Notice  sur  1  'eglise  de  Namps-au-Val.  (Memoires  de  la  Societe  des  Anti- 
quaires  de  Picardie,  tome  V,  1842,  p.  239.)  —  Valuable  for  the  illustrations. 

NESLE 

Duhamel.    Decejeau.     Description  archeologique  du  canton  de  Nesle.     Peronne,  1884. 

454 


C.     MONOGRAPHS 

NEUILLY 

Emile  Lanibin.  L'eglise  de  Neuilly-sur-Marne.  (In  Gazette  des  beaux-arts,  1902,  3me 
Periode,  tome  27,  p.  369.)  —  A  sufficient  notice. 

NOEL-ST.-MARTIN 

E.  Lejevre-Pontalis.  Notices  archeologiques  sur  les  eglises  de  Noel-St.-Martin  et  de  St. 
Gervais  de  PontpoLnt.  8vo.  (Extrait  des  Memoires  du  Comite  Archeologique  de  Senlis,  Annees 
1886  et  1887.) 

NONANCOURT 

Louis  Regnwr.  Monographic  de  St.  Martin  de  Nonancourt  (Eure).  Mesnil-sur-l 'Estree, 
Typographic  Firmin-Didot  et  Cie,  1894.  —  "Ecrite  avec  une  parfaite  competence."  (De  la 
BaUe.) 

NOTRE  DAME-DE-L'£PINE 

L.  Demaison.      Documents  inedits  sur  l'eglise  Notre  Dame-de-l'Epiae.      1895. 

NOYON 

E.  Lefeiyre-Pontalis.  Histoire  de  la  cathedrale  de  Noyon.  Extrait  des  Memoires  du  Com- 
ite Archeologique  et  Historique  de  Noyon,  tome  XVII.  Noyon,  H.  Copillet,  1901.  8vo.  — 
Excellent. 

Vitet  et  Ramee.  Monographic  de  l'eglise  Notre  Dame  de  Noyon.  Paris,  Imprimerie 
Royale,  1845.  2  vols.  4to  and  Folio.  — A  work  so  well  made  that  even  after  sixty  years  its 
value  remains  unimpaired.     The  drawings  are  especially  useful. 

V.  Baraban.  Etude  sur  l'eglise  de  Noyon  et  ses  dependances  au  commencement  du  XIV 
siecle.     Douze  dessins  photographies.     No  place,  1872.     FoUo.  —  Valuable  drawings. 

AlpJio7ise  Daniier.  Description  de  I'eghse  N.  D.  de  Noyon,  precedee  d'un  coup-d'oeil 
siu-  I'art  Chretien  au  moyen  age.     Paris,  Derache,  1845.     8vo.  —  Of  Uttle  value. 

De  la  Fans.     Recherches  historiques  sur  Noyon. 

ORBAIS 

Louis  Courajod.  Le  pavage  de  l'eglise  d'Orbais.  Extrait  de  la  Revue  archeologique. 
Paris,  Didier  &  Cie,  1876.     8vo.  —  An  adequate  pubUcation. 

Villefosse  et  Courajod.'  Histoire  de  I'abbaye  d'Orbais  (Marne),  par  Dom  der  Bout,  pub- 
liee  d'apres  le  manuscrit  original  de  I'auteur.     Paris,  1890.     8vo. 

ORLEANS 

De  Buzonniere.    Histoire  architecturale  de  la  ville  d 'Orleans.     Paris,  Didron,  1849.     8vo. 

—  Fairly  good. 

Gaston  Vigtiat.  Note  sur  une  des  chapelles  absidiales  de  la  basUique  de  Ste.  Croix  d  'Or- 
leans.    (Memoires  de  la  Societe  Archeologique  de  1 'Orleannais,  tome  IX,  1866,  p.  100.) 

Chapuy.    Vues  pittoresques  de  la  cathedrale  d 'Orleans.     Paris,  Englemann,  1825.     Folio. 

—  Of  slight  value. 

Bouclier  de  Molandon.    Charte  d'Agins.     (Memoires  de  la  Societe  Archeologique  de  1 'Or- 
leannais, tome  XI,  1868,  p.  449.)  —  A  very  full  account  of  Notre-Dame-du-Chemin  of  Orleans. 
Ch.  Pensee.     RecueU  des  anciens  monuments  ci^dls  et  rehgieux  d 'Orleans. 

ORVILLE 

Abbe  Bourlon.  Notice  historique  et  archeologique  sur  le  \'illage  d 'Orville.  .  .  .  (Memoires 
de  la  Societe  des  Antiquaires  de  Picardie,  tome  IX,  1848,  p.  83.)  —  Contains  a  few  scraps  of 
architectural  information. 

455 


BIBLIOGRAPHIES 

ORROUY 

Graves.  Notice  sur  I'eglise  d'Orrouy.  (Anuuaire  de  I'Oise,  1843.  Canton  de  Crepy- 
en-Valois.) 

OULCHY 

Abbe  Pecheur.  Notice  sur  Notre  Dame  d'Oulchy-le-Chateau.  (Bulletin  de  la  Societe 
Archeologique  de  Soissons,  lere  serie,  tome  XIX,  p.  158.) 

PACY 

Abbe  Quesnel.     Etudes  archeologiques  [sur  I'eglise  de  Pacy].     1881. 

PARIS   (GENERAL) 

A.  Lenoir.  Statistique  nionumentale  de  la  \ille  de  Paris.  Paris,  Imprimerie  Imperiale, 
1867.     3  vols.     -Ito  and  Great  Folio.  —  Measured  drawings  of  great  value. 

Egon  Hessling.  Le  Nieux  Paris,  recueil  de  \-ues  de  ses  monuments.  Tome  I,  Moyen  Age. 
Berlin,  New  York,  Bruno  Hessling.  [1906].     Folio.  —  Fine  plates  with  te.xt  of  mediocre  value. 

P.  G.  Hamerion.     Paris  in  old  and  present  times.     Boston,  Roberts  Brothers,  1885.     8vo. 

—  Distinctly  popular  in  character,  but  agreeably  written. 

S.  Sophia  Scale.  The  churches  of  Paris.  London,  W.  H.  Allen  &-  Co.,  1893.  12°.— 
Extremely  prolix,  but  of  value. 

De  Huysmans.  Trois  eglises  et  trois  primitifs.  —  Studies  of  the  cathedral,  St.  Germain- 
I'Auxerrois,  and  St.  Merry. 

Legrand  et  London.     Description  de  Paris  et  de  ses  edifices.     Paris,  Landon,  1806.     12°. 

—  A  curiosity. 

Alfred  Dclauney.  Paris  pittoresque.  Paris,  chez  Tauteur,  1870.  Foho.  —  A  series  of 
etchings  more  valuable  from  an  artistic  than  from  a  purely  archaeological  standpoint. 

Fernand  Bournon.  Paris.  Histoire,  monuments,  administration.  Paris,  Armand  Colin 
et  Cie,  1888.     8vo.  —  Very  poor. 

Philippe  Benoist  et  als.  Paris  dans  sa  splendeur.  Paris,  Henri  Charpentier,  1861.  Folio. 
3  vols.  —  These  drawings  and  descriptions  of  the  various  monmnents  of  Paris  are  of  httle  value 
to-day. 

T.  Turpin  de  Crisse.  Souvenirs  du  vieux  Paris;  examples  d 'architecture  de  temps  et  de 
styles  divers.     Paris,  Duverger,  1835.     Folio.  —  A  series  of  drawings  of  slight  value. 

Henry  Haynie.     Paris,  past  and  present.     New  York,  Stokes,  1907. 

Georges  Riat.  Paris.  Les  villes  d'art  celebres.  Paris,  Renouard,  1900.  4to.  —  Very 
mediocre. 

Germain  Brice.  Nouvelle  description  de  Paris  et  tout  ce  qu'elle  contient.  8me  edition. 
Paris,  Julien  Michel  Grandouin,  1725.     5  vols.     12°.  —  A  curiosity. 

[£douard  Gourdon].    Les  egUses  de  Paris.     Paris,  J.  Hetzel  [I860].     8vo.  —  Of  no  value. 

PARIS   (GUIDE-BOOKS) 

Patd  Joanne.  Paris.  Collection  des  guides  Joanne.  Paris,  Hachette  et  Cie,  1897.  12°. 
• —  The  best  of  the  guide-books,  but  not  always  exact  in  archaeological  matters. 

Paid  Joanne.  Paris  Diamant.  Paris,  Hachette  et  Cie.,  1903.  24°.  —  Almost  too  brief 
and  condensed. 

Karl  Bddeker.  Paris  and  en\-irons.  Also  published  in  French  and  German.  New 
editions  constantly  appearing.  —  The  excellencies  and  deficiencies  of  these  guides  are  too 
well  known  to  need  comment. 

Galignani.  New  Paris  guide  for  1866.  Paris,  W.  Gahgnani  et  Cie.  24°.  —  A  typical 
traveler's  handbook,  with  architectural  descriptions  rather  more  exact  than  usual  in  works  of 
this  class. 

456 


C.     MONOGRAPHS 

Charles  Normand.  Nouvel  itineraire;  guide  artistique  et  archeologique  de  Paris.  Paris, 
L'Ami  des  monuments  et  des  arts,  1890.     12°.  —  Mediocre. 

F.  de  Guilhermy.  Itineraire  archeologique  de  Paris.  Paris,  Morel,  [1855].  12''.  —  Of 
value  even  to-day. 

J.  Murray.  A  handbook  for  visitors  to  Paris.  —  Unsatisfactory  from  an  architectural 
standpoint. 

Thomas  Cook  &  Son.  Cook's  guide  to  Paris.  London,  1898.  New  edition.  12°.  — 
Worthless  from  an  architectural  point  of  view. 

H.  Fisquet.  Guide  du  visiteur.  Histoire  archeologique  et  descriptive  des  eglises  de  Paris. 
Notre  Dame.     Paris,  Pilon,  1855.     8vo.  —  Of  no  value. 

PARIS   (CATHEDRAL) 

Lassus  et  Viollet-le-Duc.     Monographic  de  Notre-Dame-de-Paris.     Paris,  [186  —  ?].     Folio. 

—  A  monumental  work. 

V.  Mortei.  Etude  historique  et  archeologique  sur  la  cathedrale  et  le  palais  episcopal  de 
Paris.  Paris,  Alphonse  Picard,  1888.  8vo.  —  A  valuable  study  of  the  history  of  the  building 
up  to  the  XIII  century. 

Lemercier  et  Celtibere.  Monographic  de  Notre-Dame  de  Paris  et  de  la  nouvelle  sacristie 
de  Mm.  Lassus  et  Viollet-le-Duc.  Paris,  Morel,  1870.  Folio.  —  A  series  of  fine  colored  plates, 
valuable  for  the  study  of  Gothic  polychromatic  decoration. 

Charles  Hiatt.  Notre  Dame  de  Paris.  London,  George  BeU  &  Sons,  1902.  12°.  Bell's 
Handbooks  to  Continental  churches.  —  Indifferently  poor. 

M.  C.  Bauchal.  Notre  Dame  et  ses  premiers  arehitectes.  Paris,  Charavay  Freres,  1882. 
12°.  —  An  excellent  vest-pocket  summary  of  dates. 

iS.  Franfois.  La  fa9ade  de  Notre  Dame  de  Paris.  Etude  d'art.  Brussels,  Imprimerie 
Goossens,  1907.    4to. 

Ouilhermy.     Description  of  Notre  Dame  de  Paris.     Paris,  1856.     12vo. 

Esprit  Gobitieau  de  Montluisant  Notre  Dame  de  Paris.  A  XVII  century  description  of 
the  statues  of  the  western  portal  of  the  cathedral.  Published  in  Annales  archeologiques.  Vol. 
21,  1861,  pp.  137,  210. 

A.  P.  M.  Gilbert.  Description  historique  de  la  basilique  metropolitaine  de  Paris.  Paris, 
1821. 

Chapwy.     Vues  pittoresques  de  la  cathedrale  de  Paris.     Paris,  Engelmann,  1826.     Folio. 

—  The  drawings  show  the  cathedral  as  it  was  in  the  early  XIX  century. 

F.  Leconte.     Notre  Dame  a  Paris. 

Queyron.    Histoire  et  description  de  1  'eglise  de  Notre  Dame.    Paris,  E.  Plon,  Nourrit  et  Cie. 
Claude  Sauvageot.     La  porta  des  martyrs  a  Notre  Dame  de  Paris.     (Annales  archeo- 
logiques, Vol.  22,  p.  309.) 

PARIS   (ENVIRONS) 

Emile  Lambin.  Les  eglises  des  environs  de  Paris  etudiees  au  point  de  vue  de  la  flore  orne- 
mentale.  Paris,  1896.  Folio.  —  A  series  of  monographs  on  churches  in  the  neighborhood  of 
Paris. 

Atdhynie  St.  Paul.  Notices  et  obser\'ations  comparatives  sur  les  eglises  des  environs  de 
Paris.  (Bulletin  monumental,  Vol.  34,  p.  861 ;  Vol.  35,  p.  709.)  —  Descriptions  of  several  little 
known  churches  of  the  XIII  and  XIV  centuries. 

Touring  Club  de  France.  Sites  et  monuments.  Autour  de  Paris.  Seine-et-Marne,  Seine- 
et-Oise,  Oise.  Paris,  Touring  Club  de  France,  1900.  4to.  —  The  half-tones  are  of  some  slight 
value. 

PARIS   (ST.  AIGNAN) 

Gilbert.     Souvenirs  historiques  de  la  chapelle  St.  Aignan  (Paris).     (Revue  archeologique, 

1847.) 

457 


BIBLIOGRAPHIES 

PARIS   (STE.   CH.\PELLE1 

F.  de  Guilhermy.  Description  de  la  Sainte  Chapelle.  lime  edition.  Paris,  A  la  Sainte 
Chapelle,  1S99.     12°.  —  An  adequate  pocket  guide. 

V.  Calluit.  La  Sainfe  Chapelle  de  Paris  apres  les  restaurations  comniencees  par  M. 
Duban,  terminees  par  M.  Lassus.     Paris,  1883.     Folio. 

Dedouz  et  Doury.  Histoire  arclieologique,  descriptive  et  gxapliique  de  la  Sainte  Chajjelle 
du  Palais.  Paris,  Morel,  1875.  Folio.  —  The  text  is  of  little  value;  of  the  plates,  those  in 
color  are  in  worse  than  doubtful  taste. 

Saumn  and  Schmit.  Histoire  et  description  pittoresque  du  Palais  de  Justice,  de  la  Con- 
ciergerie  et  de  la  Sainte  Chapelle  de  Paris.     Paris,  1825.     Folio. 

Slorand.     Histoire  de  la  Sainte  Chapelle. 

Troche.    Notice  historique  et  descriptive  sur  la  Sainte  Chapelle. 

PARIS  (ST.  £TIENNE-DL-M0NT) 

J.  Perdrau.  Guide  du  visiteiu-  et  du  pelerin  a  Teglise  Saint  £tienne-du-Mont.  Paris, 
De  Soye  et  Fils,  no  date.     12°.  —  Unpretending. 

Dt'  MalaMrie  et  Faudet.  Notice  historique  sur  I'eglise  et  les  monuments  de  la  paroisse  de 
St.  £tienne-du-Mout  de  Paris. 

PARIS  (ST.  EUSTACHE) 

Victor  Calliat.  figlise  St.  Eustache  a  Paris  mesuree,  dessinee,  gravee  .  .  .  avec  un  essai 
historique  sur  I'eglise  et  la  paroisse.     Paris,  1850.     Folio. 

PARIS  (ST.  GER^LAC^■) 

Jides  Qmcheral.  Les  trois  St.  Germain  de  Paris.  (Memoires  de  la  Societe  des  Antiquaires 
de  France,  Vol.  28,  1864,  p.  156.)     Tire  a  part,  Paris,  1864.     8to. 

Jules  Quicherat.  Critique  des  deux  plus  anciennes  chartes  de  I'abbaye  de  St.  Germain- 
des-Pres.  (Bibliotheque  de  I'ficole  des  Chartes,  6e  serie.  Vol.  1,  1865-66,  p.  513.)  Tire  a  part 
sous  le  nienie  titre.     Paris,  Laine,  1865.     8vo. 

Jacques  BouiUart.  Histoire  de  1  'abbaye  royale  de  St.  Germain-des-Prez.  Paris,  Gregoire 
Dupuis,  1724.  —  Contains  ^-aluable  historical  information. 

PARIS   (ST.  JACQUES) 

-V.  J/.  Troche.  La  tour  de  St.  Jacques-la-Boucherie.  Paris,  Julien,  Lanier,  Cosnard 
et  Cie,  1857.     12°.  —  An  adequate  account  miillustrated. 

F&ir  FreviUe.  L'eglise  et  la  tour  Saint  Jacques-la-Boucherie.  Etude  historique.  Paris, 
1856.     8vo.  —  "Romanesque  et  denigrante."     (Troche.) 

P.\RIS   (ST.  JUIJEN-LE-PAU^TIE) 

Armani  le  Brun.  L'egUse  St.  Juhen-le-Pauvre.  Paris,  En  vente  a  I'eglise,  1889.  12°. 
—  An  inexpensive  and  fairly  accurate  guide. 

PARIS   (ST.  MARTIN'-DES-CHAMPS) 

Lefevre-Pontalis.  fitude  sur  le  choeur  de  1  'eglise  de  St.  Martin-des-Chamffe  a  Paris.  Bib- 
Uotheque  de  I'Ecole  des  Chartes,  Vol.  47,  1886. 

PARIS   (TOPOGRAPHY) 

F.  Hofjbauer.  Paris  a  travers  les  ages.  Deuxieme  edition.  Paris,  Firmin-Didot  et  Cie, 
1885.     3  vols.     Folio.  —  A  monumental  work  on  the  topography  of  Paris. 

Robert  de  Lagteyrie.  Cartulaire  general  de  Paris,  on  recueil  de  documents  relatifs  a  1 'his- 
toire et  a  la  topographic  de  Paris.  Histoire  generate  de  Paris.  Paris,  Imprimerie  Nationale, 
1887.     2  vok.     Folio.  —  A  monimiental  publication. 

458 


C.    MONOGRAPHS 

L-  L\-.>::  {z  XLi.i.'i"":z'".i.     P^?mff  <4  ygy  IhR— -^>-.^.  ^.mx  Viy  g#.  W  g^ifftpR.    Bi^orae g^soaialle 

Chmlm  Tn.2r..-: .     Hii~;:rr  i^  ri.--;-     .-res  — :.-  ; '        ■ -rma  «iiifinpj.j>MM5.    ^feofa,  EoBilsBdM, 

PERV.\VT 

^:ce  I'iuziizir.    MoSiis  snr  I'e^fee  de  Pessant.    ^BudSE^m  de  la  SmaeSe  Aidhedln^ipe  de 
Sotffiaes.  loe ^ns,  tome  \IX,  p.  1S9.]) 

FE^EIGaNIE 

PETIT -.;:T_"Z'riXI.Y 
prPJyUL 


PLES51S-GS.:iiCirLT 

P01SS¥ 

^.  <S!f.  PimmL  Vtsssj  ei  Msr-Tmrnall-  (liiiniiane  de  h.  Sdede^  AndlaraJWigMyap  de  iBneohifae 
et  dm  ¥4si!i.  Some  AVI,  1894.;^ 

F^r  <fe  Fevnolfe.  Le  pgrmwFr  d@  imiiniim»iiHiJib  gadniq|iaES.  Rnrip^,  VSS&.  Cifao  B  Aa- 
nales  AxdgeohgiqnES^  toene  3lt  X 1 1 1^,  lfi@,  ^hhsw.}  — A  sSiadl^  of  SL  Sane  aad  Si&^. 

POMCE 

ioeee  WX,  1S91,  p.  Ti.}  —  Am.  adeqiiate  pJiaEaSHiiQ  cf  jfflmB  milirWiaiiiiiiig  dlwiiiA. 

WMTOISE 

ja  Scef^  ^?^r:--T  ^t  ?rn^.^  et  dini  Vesm,  tonne  m,  p.  154  —  *TI^  < 
saimS-"        T.'zir'^r-z' :  ~ ". -,. '  - 


BIBLIOGRAPHIES 

Abbe  Trou.  Recherches  historiques,  archeologiques,  et  biographiques  sur  la  ville  de  Pon- 
toise.     1841.  —  "N'a  aucun  caractere  scientifique."     (Lefevre-Pontalis.) 

PRESLES 

Lucien  Broche.  L'eglise  de  Presles.  (BuUetin  monumental.  Vol.  69,  1905,  p.  64.)  — An 
excellent  publication. 

PROVINS 

[Alexander  du  Sommerard].  Vues  de  Provins.  Paris,  Gide,  1822.  Folio.  —  Of  little 
value. 

T.  Bernard.  Monuments  inedits  de  Provins.  Paris,  chez  I'auteur,  1830.  4to.  —  Con- 
tains a  plan  of  St.  Quiriace. 

Felix  Bourquelot.     Histoire  de  Pro\-ins. 

PUISEAUX 

Dumesnil.  Notice  historique  siu-  l'eglise  et  la  \'ille  de  Puiseaux.  (Memoires  de 
la  Societe  Archeologique  de  1 'Orleannais,  tome  I,  1853,  p.  75.)  —  A  very  detailed  description. 

PROUSEL 

Charles  Breard.  Recherches  historiques  sur  Prousel,  son  chateau,  son  eglise,  et  ses  anciens 
seigneurs.  (Memoires  de  la  Societe  des  Antiquaires  de  Picardie,  4me  serie,  tome  III,  1899,  p.  1.) 
• — A  sufficient  publication. 

REBISi    (GENERAL) 

Hippolyte  Bazin.  Une  \-ieille  cite  de  France,  Reims.  Monuments  et  histoire.  Reims, 
F.  Michaud,  1900.    4to.  —  Fairly  good. 

Cerf.     Histoire  de  la  ^^lle  de  Rheims.     Rheims,  1864. 

Al.  Gossei.  Reims  monumental.  Notices  sur  Reims,  redigees  a  1 'occasion  du  Congres 
de  I'association  fran^aise.     Reims,  1880.     12°. 

/.  Taylor.  Reims;  la  \-ille  des  sacres.  Paris,  A.  F.  Lemaitre,  1860.  4to.  —  Superseded 
by  several  more  recent  publications. 

L.  W.  Rafenez.  Recherches  sur  les  origines  des  eglises  de  Reims,  de  Soissons,  et  de  Chalons. 
Reims,  1857.     8vo. 

Dom  Marlol.  Metropohs  remensis  historia.  Insuhs,  1666;  Reims,  1679.  2  vols.  Folio. 
—  A  secondary  source  of  some  value. 

Dom  Marhi.  Histoire  de  la  ^•ille,  cite,  et  miiversite  de  Reims.   Reims,  1843-t6.   4  vols.  4to. 

Prosper  Tarbe.  Reims;  essai  historiques  sur  ses  rues  et  ses  monuments.  Reims,  Quen- 
tin-Daihy,  1844.     Foho.  —  Mediocre. 

Paris  et  Fleury.     Reims  pittoresque,  ancien  et  modeme.     Reims,  1835.     5  vols.     8vo. 

REBIS   (GUIDE-BOOKS) 

M.  Trompette.  Cathedrale  de  Reims,  guide  du  visiteur  et  catalogue  des  photographies 
prises  sur  le  monimient.     Reims,  Imp.  Coop.,  1890.     16°. 

Victor  Tourneur.  Description  historique  et  archeologique  de  Notre  Dame  de  Reims. 
Reims,  ^Michaud,  1889.     12°  —  A  pocket  guide  of  average  merit. 

P.  B.  Joanne.  Reims.  Collection  des  Guides  Joanne.  Paris,  Hachette  et  Cie,  1902. 
12°.  —  On  the  whole  an  adequate  number  of  this  well-knowTi  series. 

Ckanoine  Bussenot.  Description  de  la  cathedrale  de  Reims  a  1  'usage  des  visiteurs.  Reims, 
Imp.  Coop.,  1894.  16°.  —  Translated  under  title  Description  of  Reims  cathedral  for  the  use 
of  %-isitors.     Reims,  N.  Monce,  [1896]. 

1  For  a  more  extended  bibliography  see  the  excellent  work  of  Demaison,  cited  below. 

460 


C.     MONOGRAPHS 

H.  Jadart.     Reims.     Guide.     Visite  aux  monuments.     Reims,  1885. 

Al.  Oosset.     Guide  du  voyageur  a  Reims.     Reims,  1883.     18°. 

F.  Rothier.     Guide  de  la  ville  de  Reims.     Reims,  F.  Rotliier,  no  date.  —  Inaccurate. 

REBIS   (CATHEDRAL) 

Louis  Demaison.  Album  de  la  cathedrale  de  Reims.  [Paris,  1902.]  2  vols.  Folio.  — 
A  monumental  work,  including  300  superb  plates  in  photogravure,  a  masterly  "notice  histor- 
ique,"  and  a  very  extensive  (though  not  an  exliaustive)  bibliography  by  H.  Jardard.  This  book 
must  be  in  the  hand  of  every  serious  student  of  the  monument. 

Ch.  Cerf.  Histoire  et  description  de  Notre  Dame  de  Reims.  Reims,  Dubois,  1861.  2 
vols.  8vo.  —  Contains  a  study  —  unfortunately  far  from  exhaustive  —  of  the  literary  sources 
for  the  history  of  the  construction. 

Al.  Oosset.  Cathedrale  de  Reims.  Histoire  et  monographic,  precedees  d'un  aperfu  sur 
la  formation  et  la  development  du  style  ogival,  sa  sculpture,  ses  \'itraux.  Paris,  May,  et  Reims, 
F.  IMichaud,  1895.     Folio. 

Louis  Demaison.  La  cathedrale  de  Reims,  son  histoire,  les  dates  de  sa  construction.  Caen, 
Delesques,  1902.     Svo.     (Extrait  du  Bulletin  monumental,  1902.) 

Louis  Demaison.  Les  architectes  de  la  cathedrale  de  Reims.  1894.  8vo.  (Extrait  du 
Bulletin  archeologique  du  Comite  des  Travaux  Historiques.) 

Louis  Demaison.  La  cathedrale  carohngieime  de  Reims  et  ses  transformations  au  XII 
siecle.     Paris,  Imprimerie  Nationale,  1907.     Svo. 

Louis  Demaison.  Nouveaux  renseignements  sur  les  architectes  de  la  cathedrale  de  Reims. 
1898.     Svo.     (Extrait  du  Bulletin  archeologique  du  Comite  des  Travaux  Historiques.) 

Abbe  Cerf.  Etudes  sur  quelques  statues  de  la  cathedrale  de  Reims.  Reims,  1886.  Svo. 
(Travaux  de  I'Academie  de  Reims,  tome  LXXIX.) 

Anthyme  St.  Paul.  La  cathedrale  de  Reims  au  XIII  siecle.  (Bulletin  monumental,  Vol. 
70,  1906,  p.  2SS.)  —  A  valuable  and  suggestive  study. 

Louise  Pillion.  Le  portail  roman  de  la  cathedrale  de  Reims.  (Gazette  des  beaux-arts, 
ser.  3,  tome  32,  1893,  p.  177.)  —  Misleading. 

Jules  Quicherat.  Observations  sur  les  travaux  entrepris  a  la  cathedrale  de  Reims  et  sur 
les  restaurations  des  monmnents  du  moyen  age.  (Bulletin  de  la  Societe  des  Antiquaires  de  France, 
1879,  p.  138.) 

Prosper  Tarbe.    Notre  Dame  de  Reims.     Reims,  Quentin  DaiUy,  1852.     4to.  —  Mediocre, 

Louis  Cloquet.     La  cathedrale  de  Reims.     (Re\aie  de  1  'art  chretien,  vol.  44,  1895,  p.  124.) 

Louis  Courajod.  Appreciation  des  statues  du  portail  de  la  cathedrale  de  Reims.  (Bulle- 
tin de  la  Societe  Nationale  des  Antiquaires  de  France,  1888,  p.  176.) 

V.  Touriwur.  Histoire  et  description  des  %ntraux  et  des  statues  de  I'interieur  de  la  cathe- 
drale de  Reims.     Reims,  Regnier,  1857.     12°.  —  Of  little  value. 

John  Coney.     Cathedral  of  Reims.     London,  Moon,  Boyo,   &  Graves,  1830.     Folio. 

A.  N.  Didron.     La  cathedrale  de  Reims.     (Annales  archeologiques.  Vols.  13-14,  passim.) 

Chapuy.  Vues  pittoresques  de  la  cathedrale  de  Reims.  Paris,  Englemann,  1826.  Foho. 
—  The  dramngs  show  the  condition  of  the  building  in  the  early  XIX  century. 

A.  M.  P.  Oilbert.  Description  historique  de  1  'eglise  metropolitaine  de  Notre  Dame  de  Reims. 
Reims,  Rebinet  Fils,  1825.     12°.  —  Worthless. 

REIMS   (ST.   REMI) 

Abbe  Poussin.  Monographic  de  I'abbaye  et  de  1 'eglise  de  St.  Remi  de  Reims.  Reims, 
Lemoin-Canart,  1857.     12°.  —  Contains  a  most  valuable  study  of  the  historical  sources. 

Louis  Demaison.     Date  de  I'eglise  St.  Remi.     Reims,  Imp.  Cooperative,  1883. 

Louis  Demaison.  Les  chevets  des  eglises  Notre  Dame  de  Chalons  et  St.  Remi  de  Reims. 
(Bulletin  archeologique,  1879,  p.  84,  277.) 

Lacatte  Joltrois.     Essai  historique  sur  I'eglise  St.  Remy  de  Reims,  1845. 

461 


BIBLIOGRAPHIES 

RESSONS-SUR-LONG 

Abbe  Pecheur.  Notice  siir  1  'eglise  de  Ressons-sur-Long.  (Bulletin  de  la  Societe  Archeo- 
logique  de  Soissons,  lere  serie.  tome  XIX,  p.  191.) 

RETHEUIL 

De  Laprairie.  Notice  sur  1  'eglise  de  Retheuil.  (Bulletin  de  la  Societe  Archeologique  de 
Soissons,  lere  serie,  tome  XVI,  p.  195.) 

BOUEN   (GENERAL) 

Camille  Eidart.     Rouen.     Les  villes  d'art  celebres  series.     Paris,  Laurens,  [1906].     4to. 

W.  Lealand.  A  short  guide  to  Rouen,  its  monuments  and  environs,  with  an  historical 
introduction.     Rouen,  Lestrongaut,  1907.     8vo. 

Thomas  Perldns.  The  churches  of  Rouen.  London,  1900.  12°.  Bell's  handbooks  to 
continental  churches.  —  Mediocre. 

E.  T.  de  Joliment.  Monuments  les  plus  remarquables  de  la  \'ille  de  Rouen.  Paris,  Le 
Blanc,  1822.  Foho.  —  The  drawings  show  the  monimients  as  they  were  in  the  early  XIX  cen- 
tury. 

F.  T.  de  Joliment.  Les  principaux  edifices  de  la  ville  de  Rouen  en  1525.  Rouen,  A. 
Lebrument,  1845.  —  Good  reproductions  of  the  drawings  in  the  Livre  des  Fontaines,  an  ancient 
manuscript  conserved  in  the  archives  of  the  city. 

F.  Bouquet.  Rouen,  aux  principales  epoques  de  son  histoire.  Rouen,  E.  Ange,  1886. 
Foho.  —  Of  httle  value. 

Lalaune.     Rouen  pittoresque.         Rouen,  1886. 

Farin.     Histoire  de  la  ville  de  Rouen.     3me  edition,  1738.     2  vols. 


ROUEN   (GUIDE-BOOKS) 

Jvlien  Loth.     La  cathedrale  de  Rouen;  son  histoire,  sa  description.     Rouen,  Fleury,  1879. 
8vo.  —  The  text  is  good,  but  the  illustrations  are  poor. 


ROUEN   (CATHEDRAL) 

AUinne  el  Loisel.  La  cathedrale  de  Rouen  avant  I'incendie  de  1200.  La  tour  St.  Re- 
main. Rouen,  Lecerf  Fils,  1904.  8vo.  —  A  work  containing  much  valuable  material,  as  well 
as  several  errors. 

A.  Deville.  Revue  des  architectes  de  la  cathedrale  do  Rouen.  Rouen,  Alfred  Peron,  1848. 
8vo.  —  Contains  a  valuable  study  of  the  historical  sources. 

A.  Demlle.  Tombeaux  de  la  cathedrale  de  Rouen.  Paris,  Le^'y,  1881.  Folio.  —  A  mon- 
vimental  work  on  the  tombs  of  the  cathedral. 

Louise  Pillion.  Les  portails  lateraux  de  la  cathedrale  de  Rouen.  Paris,  Picard  et  Fils, 
1907.     8vo.  —  An  important  study  of  the  iconography. 

Louise  Pillion.  Un  tympan  de  porte  a  la  cathedrale  de  Rouen.  (Revue  de  1  "art  chretien. 
Vol.  54,  1904,  p.  181.) 

Louise  Pillion.  Les  soubassements  des  portails  lateraux  de  la  cathedrale  de  Rouen.  (Re- 
vue de  I'art,  Vol.  17,  1905,  passim.) 

Louise  Pillion.  Deux  "vies"  d'evcques  sculptees  a  la  cathedrale  de  Rouen.  (Gazette 
des  beaiLX-arts,  ser.  3,  Vols.  30-31,  passim.) 

E.  H.  Langlois.  Notice  historique  sm-  I'incendie  de  la  cathedrale  de  Rouen.  Rouen, 
Frere,  1820.     8vo. 

Gilbert.  Description  historique  de  1 'eglise  metropolitaine  de  Rouen.  Rouen,  Frere,  1816. 
8vo.  —  Of  no  value  to-day. 

462 


C.     MONOGRAPHS 

E.  Delaqueriere.  Notice  sur  1  'incendie  de  1  "eglise  cathedrale  de  Rouen  du  ler  Septembre, 
1822.     (In  Archives  de  la  Normandie,  Vol.  11,  p.  242  f.)  —  Adequate. 

A.  Fallne.  Histoire  de  I'eglise  metropolitaine  et  du  diocese  de  Rouen.  Rouen,  1850. 
8to. 

ROUEN   (ST.   LAURENT) 

Julien.     Monograpliie  de  St.  Laurent  de  Rouen. 

ROUEN  (ST.  MACLOU) 

Onin  Lacroix.  Histoire  de  I'eglise  et  paroisse  de  St.  Maclou  de  Rouen.  Rouen,  1846. 
8vo. 

De  Beaurepaire.  Les  architectes  de  St.  Maclou.  (Commission  des  antiquites  de  la  Seine- 
Inferieure,  tome  VII,  1886.) 

ROUEN   (ST.   OUEN) 

Quicherat.  Documents  inedits  sur  la  construction  de  St.  Ouen  de  Rouen.  (Bibliotheque 
de  I'Ecole  des  Chartes,  3me  serie,  tome  III,  1852,  pp.  464^76.)  Tire  a  part  sous  le  meme 
titre.     8vo. 

Alfred  Rami.  L'art  et  1 'archeologie  au  XIX  siecle.  Achevement  de  St.  Ouen  de  Rouen. 
Paris,  Didron,  1851.     4to.  —  Contains  reproductions  of  the  original  plans  for  the  west  facade. 

D'Estainiot  et  de  Vesly.  Proces-verbal  relatif  aux  fouilles  de  St.  Ouen  [du  8  decembre, 
1884  au  17  fevrier,  1885].  (In  Bulletin  de  la  Commission  des  antiquites  de  la  Seine-Inferieiu'e, 
tome  VI,  3me  li^Te,  pp.  475^98.) 

Gilbert.  Description  historique  de  I'eghse  abbatiale  St.  Ouen  de  Rouen.  Rouen,  Frere, 
1822.  4to.  —  A  good  work  for  its  date,  containing,  however,  no  citations  of  the  original  historical 
sources. 

De  Jolimont.  Appel  aux  legislateurs,  aux  antiquaires,  et  a  1 'opinion  publique  sur  le  projet 
de  restauration  et  d 'achevement  de  I'eglise  St.  Ouen  de  Rouen.     Rouen,  1845.     4to. 

ROUEN   (ST.  VINCENT) 

Edmond  Renaud.  EgKse  St.  Vincent,  Rouen.  Monographic  archeologique  et  descriptive. 
Rouen,  Charles  Meterie,  1885.     4to.  —  Unpretending,  but  well  illustrated. 

ROUSSELOY 

Rene  Pamientier.  L'eglise  de  Rousseloy.  (Bulletin  Monumental  LXXI,  1907,  p.  471.) 
—  An  excellent  study. 

SABLE 

Z)mc  de  Chatdnes.  Notice  sur  les  \'itraux  de  I'eglise  Notre  Dame  de  Sable.  (Revue  his- 
torique et  archeologique  du  Maine,  tome  VI,  1879,  p.  269.) 

E.  Chevrier.  Notice  sur  les  egUses  de  Sable.  (Revue  historique  et  archeologique  du 
Maine,  tome  I,  1876,  p.  399.)  —  Disappointing. 

ST.   BAUDRY 

De  Laprairie.  Notice  sur  I'eghse  de  St.  Baudry.  (Bulletin  de  la  Societe  Archeologique 
de  Soissons,  lere  serie,  tome  XII,  p.  16.) 

ST.  BENOlT-SUR-LOIRE  . 

Abbe  Rocher.  Histoire  de  I'abbaye  royale  de  St.  Benoit-sur-Loire.  Orleans,  Herluison, 
1869.     8vo.  —  Leaves  much  to  be  desired. 

A.  Marigiian.     Une  visite  a  I'abbaye  de  Fleury  a  St.  Benoit-sur-Loire.     (Revue  de  l'art 

463 


BIBLIOGRAPHIES 

Chretien,  4ine  serie,  tome  XIII,  1902,  ,.p.  '291.)  —  The  chronological  thesis  of  M.  Marignan  is 
misleading. 

ST.  BOHAIRE 

J.  Laurand.  Notice  archeologique  sur  I'eglise  de  St.  Bohaire.  (Memoires  de  la  Societe 
archeologique  de  1 'Orleannais,  tome  1,  1853,  p.  367.)  — A  detailed  description. 

ST.  CALAIS 

Louis  Froger.  Le  paroisse  et  I'eglise  Notre  Dame  de  St.  Calais.  (Revue  historique  et 
archeologique  du  Maine,  tome  XXXVII,  1S95,  p.  225.)  —  An  adequate  publication  with  a  full 
study  of  the  historical  sources  and  several  mediocre  drawings. 

ST.  CfiNERI 

Desvaux.     Excursion  archeologique  a  Saint  Ceneri. 

Anonymous.    St.  Ceneri-le-Gerei.     (Revue  Normande  et  Percheroime,  1892,  p.  183.) 

ST.  DENIS 

Vitry  et  Briire.  L'eglise  abbatiale  de  St.  Denis  et  ses  tombeaux.  Notice  historique  et 
archeologique.  Paris,  Longuet,  1908.  12°.  —  "Exact,  consciencieux,  et  capable  de  satisfaire 
les  plus  difEciles."     (Rliein.) 

A.  St.  Paul.  Sviger.  L'eglise  de  St.  Denis,  et  St.  Bernard.  (Memoire  In  a  la  Sorbonne, 
insere  au  Bulletin  archeologique,  et  tire  a  part.     Journal  de  I'Univers,  no.  du  9  aout,  1890.) 

Felix  de  Verneilh.  Le  premier  des  monuments  gotliiques.  Paris,  1864.  (Also  in  Annales 
archcologiques,  tome  XXIII,  1863,  passim.)  —  A  study  of  St.  Denis  and  Poissy. 

De  Guilhermy.  Monographie  de  I'eglise  royale  de  St.  Denis.  Paris,  Didron,  1868.  12°. 
—  Of  little  value. 

De  Guilhermy.  Restauration  de  l'eglise  royale  de  St.  Denis.  (Annales  archcologiques, 
Vol.  5,  p.  200.) 

Leon  LeinUain.  L'eglise  carolingienne  de  Saint  Denis.  (Announced  for  publication  in 
the  Bulletin  monumental  for  1907.) 

Louis  Courajod.  Deux  epaves  de  la  chapelle  funeraire  des  Valois  a  St.  Denis,  aujourd'hui 
au  musee  du  Louvre.     Paris,  1878-81.     8vo. 

Abbe  Crosnier.  Vitrail  de  I'abbaye  de  St.  Denis  explique.  (Revue  archeologique.  Vol.  7, 
1847,  p.  377.) 

Michel  Felibicn.  Histoire  de  I'abbaye  royale  de  St.  Denys  en  France.  Paris,  Frederic 
Leonard,  1706.  Folio.  —  Contains  a  description  of  the  tombs  as  they  existed  before  the  revo- 
lution. 

Anonymous.  Le  tresor,  les  corps  saints,  les  tombeaux  et  les  raretez  qui  se  voyent  dans 
l'eglise  royale  de  St.  Denis  en  France.  Paris,  Jacques  Chardon,  1825.  12°.  — An  early  guide- 
book affording  some  data  for  the  restoration  of  the  tombs,  etc. 

Felicie  d'Ayzac.  Histoire  de  I'abbaye  de  Saint  Denis  en  France.  Paris,  Imprimerie 
Imperiale,  1861,  2  vols.     8vo.  —  Exclusively  historical. 

J.  J.  Guijfrey.  Un  chapitre  inedit  de  1 'histoire  des  tombes  royales  de  St.  Denis  d'apres 
les  documents  conserves  aux  archives  nationales.     Paris,  1876.     8vo. 

ST.   GERIMER 

E.  Leferre-Pontalis.  fitude  sur  la  date  de  l'eglise  de  Saint  Grermer.  (Bibliotheque  de 
I'Ecole  des  Chartes,  1889.) 

Abbe  J.  Corblet.  Description  historique  de  1  'eglise  et  de  la  chapelle  de  St.  Germer  de  Flay. 
(Memoires  de  la  Societe  des  Antiquaires  de  Picardie,  tome  V,  1842,  p.  172.)  —  Of  little  value 
to-day. 

464 


C.     MONOGRAPHS 

ST.-GERVAIS-DE-PONTPOINT 

E.  Lefevre-Pontalis.  Notices  archeologiques  sur  les  eglises  de  Noel-St.-Martin  et  de  St.- 
Gervais-de-Pontpoint.  8vo.  (Extrait  des  Memoires  du  Comite  Archeologique  de  Senlis,  annees 
1886  et  1887.) 

Le  Chartier.  La  paroisse  St.  Gervais  depuis  ses  origines  jusqu'au  XVI  siecle.  (Position 
des  theses  de  I'Ecole  de  Chartes,  1900.) 

ST.-HILAIEE-EN-LIGNIERES. 

F.  Deshmdieres.  L'eglise  de  Saint-Hilaire-en-Lignieres.  (Bulletin  Monumental  LXXI, 
1907,  p.  466.) — An  admirable  description  with  illustrations  of  the  ciypt. 

ST.^EAN-AUX-BOIS 

Louis  Sauvageot.  Chapelle  abbatiale  de  St.-Jean-anx-Bois.  (Annales  archeologiques, 
Vols.  23,  24,  passim.)  —  An  adequate  pubhcation. 

ST.  LEU  D'ESSERENT 

£mile  Lambin.  L  'egUse  de  St.  Leu  d  'Esserent.  (Gazette  des  beaux -arts,  3me  serie,  tome 
25,  1901,  p.  305.)  —  Valuable  especially  for  the  description  of  the  carved  fohage. 

ST.  LOUP 

Regnier.  Une  eglise  romane  de  I'Avranchin;  Saint  Loup.  (Annuaire  de  1 'Association 
Normande,  Vol.  57,  1891.)  —  Also  printed  separately. 

Louisa  Stuart  Costello.  A  summer  amidst  the  bocages  and  the  wines.  London,  Richard 
Bentley,  1840.  —  Contains  a  description  of  St.  Ixjup. 

ST.-PIERRE-DE-MONTSORT 

H.  Antoine.  Recherches  sur  la  paroisse  et  sur  l'eglise  de  St.-Pierre-de-Montsort.  (Revue 
historique  et  archeologique  du  Maine,  tome  VII,  1880,  p.  99.)  —  An  adequate  account  of  an 
unimportant  monument. 

ST.-PIERRE-EGLISE 

Louis  Drouet.  Recherches  historiques  sur  les  vingt  communes  du  canton  de  Saint-Pierre- 
Eghse.  Cherbourg,  Imprimerie  St.  Joseph,  1893.  8vo.  —  Descriptions  and  half-tones  of  little 
known  churches. 

ST.-PIERRE-SUR-DIVES 

/.  M.  Hurel.  Le  ciceron  de  St.  Pierre,  ou  recherches  historiques  sur  St.-Pierre-sur-Dives 
et  son  abbaye.     1840.     8vo. 

Florent  Richomme.  Notice  sur  I'egKse  et  I'abbaye  de  St.-Pierre-sur-Dives  et  sur  les  asso- 
ciations pieuses  pour  la  construction  des  eglises  au  XII  siecle.     Falaise,  1858.     8vo. 

J.  Pepin.     St.-Pierre-sur-Dives.     Caen,  1879.     8vo. 

J.  Denis.    L'eghse  de  St.-Pierre-sur-Dives  en  1145.     Caen,  1867.     8vo. 

Beaurepaire  et  Ijouvagne.     St.-Pierre-sur-Dives.  (Revue  de  Rouen,  1850.) 

ST.   QUENTIN 

Charles  Gomart.  Notice  sur  l'eglise  de  Saint  Quentin.  (BiiUetin  monumental,  4me  serie, 
tome  6,  1870,  p.  201.)  — An  adequate  account  with  references  to  the  historical  sotu-ces. 

P.  Benard.     Monographic  de  1  'eglise  de  St.  Quentin.     8vo. 

ST.  SATUR 

Gemahling.    Monographie  de  I'abbaye  de  St.  Satur.     Societe  du  Berry,  1866. 

465 


BIBLIOGRAPHIES 

ST.  THIBAUD 

Primix.  Notice  historique  et  archeologique  sur  I'eglise  de  St.  Tliibauld.  (Revue  arche- 
ologique,  2me  serie,  tome  X,  p.  253.) 

ST.  WANDRILLE 

Langlois.  Essai  historique  et  descriptif  sur  I'abbaye  de  St.  Wandrille.  Paris,  Testu, 
1827.     8vo. 

SANTEUIL 

E.  Lejevre-Pontalis.  Notices  archeologiques  sur  les  eglises  de  Santeuil  et  de  Gonesse. 
8vo.  (Extrait  des  Memoires  de  la  Societe  historique  de  Pontoise  et  du  Ve.\in,  tome  X  et  XI, 
1886  et  1887.) 

SAVIGNY 

Abbe  Lemasson.     Notice  sur  I'eglise  de  Sa\'igny  prcs  Coutances. 

SfiEZ 

L.  V.  Dumaine.  La  cathedrale  de  Seez:  coup-d'oeil  sur  son  histoire  et  ses  beautes.  Seez, 
F.  Montauze,  1892.     12°.  —  Pretends  to  no  scientific  value. 

Leon  de  la  Sicotiere.    Notice  sur  la  cathedrale  de  Seez. 

Robert  Triger.  Notes  d'archcologie;  la  cathedrale  de  Seez.  (Revue  historique  et  arche- 
ologique du  Maine,  tome  XLVII,  1900,  p.  287.)  —  Unimportant. 

Abbe  LevaiUy.  Memoires  pour  servir  a  1  'histoire  de  1  'eglise  cathedrale  de  Seez.  Alen^on, 
Malassis,  1775. 

SENLIS 

£mile  Lambin.    La  cathedrale  de  Senlis.     (Revue  de  I'art  chretien,  Vol.  47,  1898,  p.  278.) 

Marcel  Aubert.  La  cathedrale  de  Senlis.  (Ecole  Nationale  des  Chartes.  Positions  de 
la  these  de  la  promotion,  1907,  pp.  1-9.) 

Ernest  Dupuis.  Senlis  Mouographie-guide.  Senlis,  Imprimerie  Administrative  et  Com- 
merciale,    1900.     8vo.  —  Poor. 

Abbe  ilagne.  Notice  sur  I'ancienne  abbaye  royale  de  St.  Vincent  de  Senlis.  (Memoires 
de  la  Societe  Academique  .  .  .  du  Departement  de  1  'Oise,  tome  IV,  1859,  p.  249.)  —  Conveys 
a  very  little  information  in  a  great  many  words. 

SENS 

E.  Vaudin-Bataille.     La  cathedrale  de  Sens.     Deuxieme  edition  corrigee  et  augmentee. 
Paris,  Albert  Fontemoing,  1899.     4to.  —  The  study  of  historical  sources  is  wholly  inadequate. 

Theodore  Tarbe.     Description  de  I'eglise  metropolitaine  de  Sens. 

Anatole  de  ilontaiglon.     Antiquites  de  Sens.     Paris,  A.  Detaille,  1881. 

Chapuy.  Vues  pittoresques  de  la  cathedrale  de  Sens.  Paris,  Englemann,  1828.  Folio. 
—  The  drawings  show  the  condition  of  the  cathedral  in  the  early  XIX  century. 

Qventin.    Notice  sur  la  construction  de  la  cathedrale  de  Sens.     Auxerre,  1839. 

Victor  Petit.     Guide  du  voyageur  a  Sens.     (Annaire  de  1  'Yoime,  1847.) 

Abbe  Chauveau.     Origine  de  la  metropole  de  Sens.     1847. 

SOISSONS   (GENERAL) 

E.  Lejerre-Pontalis.  L 'architecture  reh'gieuse  dans  I'ancien  diocese  de  Soissons  au  XI 
et  au  XII  siecle.     Paris,  Plon,  1894.     2  vols.     Folio.  —  A  monumental  work. 

Nicolas  Berletie.  Les  antiquitez  de  Soissons  recueillies  de  divers  auteurs  et  chroniques. 
(Bulletins  de  la  Societe  Archeologique  de  Soissons,  2me  serie,  tome  IX,  1888,  p.  81.)  —  The  man- 

466 


C.     MONOGRAPHS 

uscript  of  this  author,  who  lived  1557-82,  is  here  puMished  for  the  first  time,  and  contains 
several  interesting  passages. 

Lemcdne.  Histoire  des  antiquites  de  la  ville  de  Soissons.  Paris,  1771.  2  vols.  12°.  — 
In  efPect  a  supplement  to  Berlette  and  Regnault. 

Dormay.  Histoire  de  la  ville  de  Soissons  et  de  ses  rois,  dues,  comtes  et  gouverneurs.  Sois- 
sons, 1663-64.  2  vols.  4to.  —  Malgre  certaines  erreurs  bien  excusables  il  eut  le  merite  .  .  . 
d'eclaircir  les  origines  de  la  cathedrale.     (Lefevre-Pontalis.) 

Leroux     Histoire  de  la  ville  de  Soissons.     Soissons,  1839.     2  vols.     8vo. 

Martin  et  Lacroix.     Histoire  de  Soissons.     Soissons,  1837.     2  vols.     8vo. 

Bethcder.  Album  soissonnais.  Soissons,  1855.  8vo.  —  "TJn  recueil  de  .  .  .  divers  edi- 
fices religieux."     (Ijefevre-Pontalis.) 

Louis  Devics.  Soissons  en  poche.  Guide  du  visiteur  a  travers  la  ville.  Soissons,  Prud- 
homme,  1900.     12°.  —  Inaccurate  and  misleading. 

SOISSONS   (CATHEDRAL) 

E.  Lefevre-Pontalis.  La  dedicace  de  la  cathedrale  de  Soissons  en  1497.  (Bulletin  arche- 
ologique  du  Comite  des  Travaux  Historiques,  1886,  p.  344.) 

Abbe  Poquet.    Notice  historique  et  archeologique  de  la  cathedrale  de  Soissons.     Soissons, 
1848.     18°.  —  "II  n'aurait  pas  du  attribuer  la  crypte  a  la  meme  date  que  I'eghse  batie  par  Clo- 
taire."     (Lefevre-Pontalis.) 

lEmUe  Lambin.  La  cathedrale  de  Soissons.  (Revue  de  I'art  chretien.  Vol.  47,  1898, 
p.  441.) 

De  Laprairie.  Notice  sur  la  cathedrale  de  Soissons.  (Bulletin  de  la  Societe  Archeologique 
de  Soissons,  lere  serie,  tome  XV,  p.  167.) 

SOISSONS   (ENVIRONS) 

De  Laprairie,  Pecheur  et  als.  Repertoire  archeologique  de  I'arrondissement  de  Soissons. 
(Bulletins  de  la  Societe  archeologique  de  Soissons,  lere  serie,  tome  XV,  1865,  pp.  133  et  175.) 

—  Of  uneven  merit. 

De  Laprairie.  Classement  chronologique  des  eglises  de  I'arrondissement  de  Soissons. 
(Bulletins  de  la  Societe  archeologique  de  Soissons,  2me  serie,  tome  X,  1879,  p.  97.) 

SOISSONS   (NOTRE  DAME) 

Dom  Germain.  Histoire  de  I'abbaye  royale  de  Notre  Dame  de  Soissons.  Paris,  1675. 
4to.  —  "C'est  grace  a  lui  [Dom  Germain]  que  les  dispositions  de  la  magnifique  eglise  romane 
du  monasters  ne  sont  pas  restees  inconnues."     (Lefevre-Pontalis.) 

Pocquet.  Notice  sur  I'eglise  Notre  Dame  de  Soissons  et  sur  le  collegiale  de  St.  Pierre  au 
Parvis.     (Bulletin  de  la  Societe  Archeologique  de  Soissons.     lere  serie,  tome  VIII,  1854,  p.  191.) 

—  "Fit  connaitre  aux  archeologues  les  derniers  debris  de  ces  deux  monuments.  (Lefevre-Pon- 
talis.) 

Michaux.  Les  restes  de  I'eglise  de  Notre  Dame  des  Vignes  a  Soissons.  (Bulletin  de  la 
Societe  Archeologique  de  Soissons,  3me  serie,  tome  11,  1894,  p.  105.) 

Poqiiet.    Notice  sur  I'abbaye  royale  de  Notre  Dame  de  Soissons.     1846.    2me  ed.,  1856. 

SOISSONS   (ST.  JEAN-DES-VIGNES) 

Louen.  Histoire  de  I'abbaye  de  St.  Jean-des-Vignes  de  Soissons.  Paris,  1710.  12°. — 
Contains  descriptions  of  several  churches  of  Soissons. 

SOISSONS   (ST.  LfiGER) 

Poquet  et  de  Laprairie.  Notice  historique  et  descriptive  de  I'abbaye  de  St.  Leger  [a  Sois- 
sons].    Soissons,  1850.     4to. 

467 


BIBLIOGRAPHIES 

Decamps.  St.  Leger  a  Soissons.  ^Bulletins  de  la  Societe  Archeologique  de  Soissons,  lere 
serie,  tome  II,  p.  11.1 

SOISSONS   (ST.  M£DARD) 

E.  Lefevre-Potttalis.     Etude  sur  la  date  de  la  crypte  de  St.  Medard  de  Soissons.     8vo. 
(Extrait  du  Congres  archeologique  de  France,  44me  session,  1887.) 
Poquet.     Promenade  historique  a  Saint  Medard,  1880.     8vo. 

SOLESMES 

CoiUel  de  la  Tremhlaye.  Les  sculptures  de  I'eglise  abbatiale  de  Solesmes,  1496-1553.  So- 
lesmes,  1892.     Folio.  —  A  monumental  work. 

Prosper  Gueranger.  Essai  historique  sur  I'abbaye  de  Solesmes  suivi  de  la  description  de 
I'eglise  abbatiale.     Le  Mans,  Fleuriot,  1846.  —  Remarkably  good  for  its  date. 

SONGE 

P.  Moulard.    Chroniques  de  Songe-le-Gannelon  (Sarthe).    Le  Mans,  1880.    8vo. 

SOLmONE 

Robert  Charles.  Etude  historique  et  archeologique  sur  I'eghse  et  la  paroisse  de  Souvigne- 
sur-Meme.  (Revue  historique  et  archeologique  du  Maine,  tome  I,  1876,  p.  43.)  —  A  publica- 
tion of  sources  most  unusually  complete. 

SUZE 

Abbe  Louis  Froger.  La  paroisse  de  la  Suze  au  XV  siecle  apres  les  comptes  de  fabrique. 
(Re\-ue  historique  et  archeologique  du  Maine,  tome  XL,  1896,  p.  146.)  —  Contains  but  little 
about  architecture. 

T.ULLE-FONTAINE 

De  Laprairie.  Notice  sur  I'eglise  de  Taille-Fontaine.  (Bulletin  de  la  Societe  Archeo- 
logique de  Soissons,  lere  serie,  tome  XVI,  p.  196.) 

TONCE 

Abbe  Louis  Froger.  Notre  Dame  de  Tonce.  (Revue  historique  et  archeologique  du  Maine, 
tome  XLUI,  1897,  p.  189.)  —  An  adequate  description  with  several  inferior  drawings. 

TRESSON 

Abbe  Louis  Froger.  La  paroisse  de  Tresson.  (Revue  historique  et  archeologique  du 
]Maine,  tome  XL\1II,  1900,  pp.  33,  173.)  —  A  confused  account  accompanied  by  several 
indifferent  illustrations. 

TROYES   (GENERAL) 

J.  B.  Cofpnet.     Les  peintres-vemeis  de  Troyes.      (Annales  archeologiques.  Vol.  18,  pas- 

OTTJl.) 

Amedee  Aufauvre.  Troyes  et  ses  environs.  Guide  historique  et  topographique.  Troyes, 
Bouquot,  1860.     12°.  —  Mediocre. 

Aiigusie  ilarguillier.  Troyes  artistique  et  pittoresque.  (Gazette  des  beaux-arts,  1899, 
3me  serie,  tome  21,  p.  413.)  —  Unimportant. 

Alexander  Assier.  Les  arts  et  les  artistes  dans  I'ancienne  capitate  de  la  Champagne 
[Troyes]  1250-1680.  Bibliotheque  de  Tamateur  Champenois.  Paris,  Aubry,  1876.  12°.— Of 
no  value. 

468 


C.     MONOGRAPHS 

TROYES   (CATHEDRAL) 

Jules  Quicherat.  Notice  sur  plusieurs  registres  de  I'oeuvre  de  la  cathedrale  de  Troyes. 
(Memoires  de  la  Societe  des  Antiquaires  de  France,  tome  XIX,  1849,  p.  41.)  Tire  a  part.  Paris, 
Duvergier,  1848.     8vo. 

E.  Patenotre.  La  cathedrale  de  Troyes.  Troyes,  Imprimerie  Paul  N.  Nonel,  1901.  12°. 
Pamphlet.  —  An  available  pocket  guide. 

F.  Amaud.    Description  historique  de  I'eglise  cathedrale  de  Troyes. 

TROYES   (ST.  JEAN) 

Le  Brun-Dalbanne.  Les  has  reliefs  de  St.  Jean-au-Marche  de  Troyes.  Troyes,  Dufour- 
Bouquot,  1864.     8vo.  —  Contains  nothing  about  the  architecture  of  the  mommient. 

TROYES   (ST.  PANTALEON) 

Albert  Barbeau.    L'eglise  St.  Pantaleon  de  Troyes.     8vo. 

TROYES   (ST.  URBAIN) 

Albert  Barbeau.  St.  Urbain  de  Troyes.  Troyes,  Dufour-Bouquot,  1891.  8vo.  —  On  the 
whole  adequate,  though  modest  in  proportions  and  aim. 

Adler.    Saint  Urbain  in  Troyes.     (Deutschen  Bauzeitung,  1870,  s.  417  ff.) 

VAILLY 

Ribaux  et  Pioux.  Notice  sur  l'eglise  de  Vailly.  (Bulletin  de  la  Societe  Archeologique 
de  Soissons,  lere  serie,  tome  IV,  p.  105,  et  2me  serie,  tome  XVIII,  p.  54.) 

VALOGNES 

Anonymous.  Memoire  historique  sur  la  viUe  de  Valognes,  dans  le  diocese  de  Coutances 
en  Basse-Normandie.  (Archives  de  la  Normandie,  Vol.  II,  p.  211  f.)  —  Contains  some  scraps 
of  architectural  information. 

VENDOME 

Abbe  Plat.    Notes  pour  servis  a  I'histoire  monumentale  de  la  Trinite.     Vendome,  1907. 

VERNEUIL 

Paid  Duchene.  Archeologie,  ou  description  de  la  tour  Ste.  Magdaleine  de  la  Ville  de  Ver- 
neuil  (Eure).     1869.     12°. 

Gnilmeth.     Histoire  de  Verneuil,  2me  edition,  1836.     8vo. 

Vangeois.    Verneuil.     (Revue  trimestrielle  du  departement  de  I'Eure.     1835,  p.  327.) 

VERRON 

Sebastien  de  la  Bowillerie.  Verron.  Notes  et  documents.  (Revue  historique  et  archeo- 
logique du  Maine,  tome  XXXIV,  1893,  p.  148.)  —  Entirely  inadequate. 

VERS 

Hector  Josse.  Notice  historique  sur  les  communes  de  Vers  et  d'Hebecourt.  (Memoires 
de  la  Societe  des  Antiquaires  de  Picardie,  4me  serie,  tome  I,  1891,  p.  1.)  —  Contains  notices  of 
the  churches  of  these  villages. 

VEZELAY 

Flandin.  Vezelay.  (Annuaire  statistique  du  departement  de  I'Yonne,  1841,  3me  paitie, 
p.  80;  1842,  3me  partie,  p.  47.)  —  A  conscientious  study  of  the  history  of  the  abbey. 

469 


BIBLIOGRAPHIES 

L.  E.  Lefevre.  Le  portail  de  I'^bbaye  de  Vezelay.  (Revue  de  I'art  chretien,  1906, 
p.  253.)  —  A  discussion  of  the  iconography. 

G.  Sanoner.  Portail  de  I'abbaye  de  Vezelay.  (Revue  de  I'art  chretien,  Vol.  54,  1904, 
p.  448.) 

S.  N.  Vansittart.  Avallon  and  Vezelay.  (Architectural  Review  (London),  Vol.  11, 
1902,  pp.  80-90.)  —  Vi'orthless. 

VIC 

Abbe  Louis  Froger.  L'cglise  de  St.  Gervais  de  Vic.  (Revue  liistorique  et  archeologique 
<lu  Maine,  tome  XLV,  1899,  p.  205.)  —  An  account  of  the  church  accompanied  by  several  poor 
drawings. 

Abbe  Poquet.  Notices  sur  Vic-sur-Aisne  et  Ambleny.  (Bulletins  de  la  Societe  Archeo- 
logique de  Soissons,  lere  serie,  tome  VII,  1853,  p.  132;  tome  IX,  1855,  p.  158.) 

VILLEDIEU-LES-POELES 

Grettte  et  liavard.  Villcdieu-les-Poeles ;  sa  commanderie,  sa  bourgeoisie,  ses  metiers. 
Paris,  Librairie  Champion,  1899. 

VILLERS-ST.-PAUL 

E.  Lejevre-Pontalis.  Monographic  de  I'eglise  de  Villers-St.-Paul.  8vo.  (E.\trait  des 
Memoires  de  la  Societe  Academique  de  I'Oise,  tome  XIII,  188G.) 

YVETOT 

Abbe  Cochcl.  Les  eglises  de  rarrondisscnicnt  d'Yvetot.  Paris,  Didron,  185o.  8vo. — 
The  text  is  of  value,  but  the  illustrations  are  few  and  poor. 


470 


BIBLIOGRAPHICAL  INDEX 


Abbeville,  438. 

Abbot  Guibert,  421. 

Adams,  G.  L.,  436. 

Adler,  469. 

Adoiiis,  421. 

Agnieres,  438. 

Aimoinus,  421 

Airaines,  438. 

Aisne,  431. 

Aizy,  438. 

AUinne  et  Loisel,  462. 

Allom  and  Wright,  427. 

AUon,  453. 

Almeneches,  438. 

Ame,  E.,  428. 

Amiens,  cathedral,  439;  diocese,  433;  figlise 

des  Cordeliers,  439;  St.  Germain,  440. 
Anisy,  L.  d',  422. 
Anselmi,  421. 
Antoine,  H.,  465. 
Appert  et  Bernier,  449. 
Architecture  of  Monastic  Orders,  437. 
Arch,  de  la  Com.  des  Mon.  Hist.,  423. 
Arcliives  de  la  Commission  des  Monuments 

Historiques,  423. 
Arnaud,  F.,  431,  469. 
Asseline,  447. 
Assier,  A.,  468. 
Asnieres,  440. 
Aube,  431. 

Auber,  Abbe,  434,  436. 
Aubert,  M.,  466. 
Aubevoye,  440. 
Aufauvre,  A.,  468. 
Aufauvre  et  Fichot,  432. 
Auxerre,   Cathedral,   440;  St.   Germain,   440. 
Aviron,  L.  B.  d',  448. 
Avranches,  433. 
Ayzac,  F.  d',  445,  464. 
Azy-Bonneil,  440. 

Badeker,  K.,  426,  456. 
Baillarge,  434. 
Baldus,  E.  D.,  424. 


Ballyhier,  L.  de,  446. 

Baraban,  V.,  455. 

Barbeau,  A.,  469,  (2). 

Bard,  J.,  423. 

Barette,  Abbe,  459. 

Barraud,  P.  C,  441,  (6). 

Barr  Ferree,  J.,  426,  (2). 

Barron,  L.,  427,  434. 

Barthelemy,  E.  M.  de,  433,  444. 

Bastard,  de,  434. 

Batissier,  L.,  423. 

Bauchal,  Ch.,  428,  457. 

Baudot,  A.  de,  424,  437. 

Baudot,  A.  de  et  Perrault,  426. 

Baurepaire,  Ch.  de,  432. 

Bayeux,  433,  440. 

Bazin,  Ch.,  449. 

Bazin,  H.,  460. 

Bazoches,  440. 

Bazouges,  440. 

Beale,  S.,  427,  456. 

Beaurepaire,  E.  R.  de,  443,  463. 

Beaurepaire,  de,  Caumont,  de,  et  als,  430. 

Beaurepaire  et  Louvagne,  465. 

Beauvais,   441;  cathedral,   441;  diocese,   433; 

St.  fitienne,  441;  St.  Gilles,  441;  St.  Lu- 

cien,  441. 
Beauval,  441. 
Belleme,  441. 
Benard,  P.,  465. 
Benoist,  F.,  et  als,  429,  456. 
Berlette,  N.,  466. 
Bernard,  T.,  460. 
Bernay,  441. 
Berry,  428. 
Berzy,  442. 
Besnard,  A.,  442. 
Berty,  A.,  459. 
Betbeder,  467. 
Bezold,  G.  von,  425. 
Bilson,  J.,  435,  (2),  454. 
Binson,  442. 

Bishop,  Rev.  H.  H.,  427. 
Bitry,  442. 


471 


BIBLIOGRAPHICAL   INDEX 


Bocheirille,  442. 
Bois,  L.  de,  430. 
Boisthibault,  D.  de,  445. 
Bond,  F.,  427. 
Bonet,  G.,  441. 
Bonfous,  P.,  422. 
Bonport,  442. 
Books  of  Illustrations,  423. 
Bordeau-x,  J.  H.  R.,  443. 
Bouet,  G.  A.,  443,  (2),  438. 
Bouillart,  J.,  458. 
Bouillet,  A.,  446. 
Boulais,  B.  des,  434. 
Bouquet,  F.,  462. 
Bourasse,  J.  J.,  423,  426. 
Bourdon,  Ch.,  440. 
Bourgeois,  P.,  448. 
Bourges,  442. 
Bourlon,  Abbe,  455. 
Bournon,  F.,  456. 
Bourquclot,  F.,  460. 
Bouthors,  446. 
Bouveret,  429. 
Bouxin,  A.,  451. 
Bray-sur-Somme,  442. 
Breard,  Ch.,  460. 
Brestol,  442. 
Breuil,  J.  du,  422. 
Breuil-Benoit,  442. 
Brice,  G.,  456. 
Briouze,  442. 
Broche,  L.,  460. 
Browne,  E.,  A.  430. 
Brow-ne,  F.  C,  426. 
Browell,  W.  C,  437. 
Brullee,  422. 
Brussel,  422. 
Brutails,  J.  A.,  427.  454. 
Bulteau,  Abbe,  444,  445. 
Burgundy,  428. 
Bussenot,  Chanoine,  460. 
Buzonniere,  de,  455. 

Caen,  443. 

Cahier  et  Martin,  435. 

Calliat,  v.,  458,  (2). 

Calvados,  431. 

Carin,  A.,  423. 

earlier,  430. 

Carpenter,   R.  H.,  Powell,  J.  C,  Westlake, 

N.  H.  J.,  and  Heaton,  C,  436. 
Caumont,  A.  de,  422,  423,  (3),  428,  431,  (4), 

438. 


Celles,  P.  de,  421. 

Celles-St.-Eusice,  443. 

Cerf,  Abbe,  460,  461,  (2). 

Cerseuil,  443. 

Chaise-Dieu,  444. 

Chalons-sur-iNIarne,  443;  diocese,  433. 

Champagne,  444. 

Champagne,  province  of,  428. 

Champaissant,  444. 

Champeaux,  444. 

Champeaux  et  Gaucherj',  428. 

Chappee,  J.,  428,  444,   (2),  453. 

Chapuy,  439,  440,  445,  455,  457,  461,  466. 

Charcrise,  444. 

Charles,  R.,  444,  451,  452,  468. 

Charpillon  et  Caresme,  431. 

Chartres,  444. 

Chateau,  L.,  423. 

Chateau-du-Loire,  444. 

Chateaudun,  444. 

Chateaumeillant,  444. 

Chaulnes,  Due  de,  463. 

Chauveau,  Abbe,  466. 

Chennevieres,  Ph,  de,  441. 

Cher,  431. 

Cherbourg,  445. 

Chevallier,  £.,  442,  (2). 

Che\Teir,  E.,  463. 

Chezal-Benoit,  446. 

Cliigoucsnel,  440. 

Chi%7,  446. 

Clarius,  421. 

Cler%al,  A.,  445. 

Cloquet,  L.,  427,  461. 

Cintheaux,  446. 

Cochet,  Abbe,  432,  447.  450,  470. 

Coffinet,  J.  B.,  436,  468. 

Coincy,  438. 

Coleman,  C,  434. 

Compiegne,  446. 

Conches,  446. 

Coney,  J.,  424,  461. 

Conge-sur-Orne,  446. 

Cook,  Th.,  and  Son,  457. 

Coquelle,  449. 

Corberon,  P.,  440. 

Corbie,  446. 

Corblet,  Abbe,  J.,  464. 

Corroyer,  E.,  423,  (2),  454. 

Costeilo,  L.  S.,  465. 

Cotman,  J.  S.,  429. 

Coucj'-le-Chateau,  440. 

Courajod,  L.,  428,  455,  461,  464. 


472 


BIBLIOGRAPHICAL   INDEX 


Coutades,  de,  449. 

Coutan,  442. 

Coutances,  Arrondissement,     446;     cathedral, 

446. 
CreU,  447. 
Cre-sur-Loire,  446. 
Crisse,  T.  T.  d",  456. 
Criticism  and  MisceUanies,  427. 
Crosnier,  Abbe,  434,  437,  447,  464. 
Crouttes,  447. 
Crouy,  447. 
Cuise,  447. 
Cuss}%  de,  440. 

Daboval,  451. 

Damianus,  P.,  421. 

Damville,  447. 

Daniel,  441,  (2). 

Dantier,  A.,  455. 

Darras,  Abbe,  454. 

Darsy,  M.  F.  I.,  449. 

Da\'id,  Ch.,  450. 

Da%ie,  W.  G.,  426. 

Decamps,  468. 

Decloux  et  Dourj',  458. 

Dehio,  G.,  425. 

Dejault-Martiniere,  452. 

Delamare,  Abbe,  446. 

Delaqueriere,  E.,  463. 

Delamiey,  A.,  456. 

Delettre,  Abbe,  433. 

Demaison,  L.,  455,  461,  (7). 

Denis  de  Ste.  Marthe,  421. 

Depoin,  J.,  459. 

Desguerrois,  434. 

Deshayes,  450. 

Deshoulieres,  F.,  444,  446,  465. 

Desjardins,  G.,  441. 

Desvaux,  A.,  438,  464. 

Deviation  of  Axis,  435. 

Defies,  L.,  467. 

De^'iUe,  A.,  436,  442,  462,  (2). 

Dibdin,  Th.  F.,  427. 

Dibon,  P.,  452. 

Didron,  A.  N.,  428,  434,  443,  444,  445,  461. 

Didron,  E.  A.,  435,  449. 

Dieppe,  447. 

Dieulafoy,  425. 

Dion,  A.  de,  437.  443,  453. 

Dion,  de,  et  Lasvignes,  440. 

Domfront,  447. 

Dom  Germain,  467. 

Dormay,  467. 


Donllens,  447. 

Doyen,  C.  L.,  441. 

Dreux,  448. 

Drevant,  448. 

Drouet,  L.,  465. 

Drouin,  Abbe,  440. 

Dubois,  Abbe,  E.  L.,  453,  (2). 

Dubois,  G.,  422. 

Ducarel,  A.  C,  429. 

Duclair,  448. 

Duchemin,  459. 

Duchene,  P.,  469. 

Duchesne,  421. 

Dufour,  C,  439. 

Dufour,  v.,  459. 

Duhamel,  454. 

Dumaine,  L.  V.,  466. 

Dumesnil,  460. 

Dupuis,  E.,  466. 

Durand,  G.,  439,  (2),  441,  447. 

Durand,  P.,  445. 

Dusevel,  433,  438,   (2),  439,  441,  447,  (3). 

Duval,  439. 

Duval,  M.  L.,  449. 

Duval  et  Jourdain,  439. 

Emeric-David,  T.  B.,  423,  437. 

Enlart,  C,  422,  424,  425,  (2),  430,  433,  437, 

454,  462. 
Epau,  448. 
Epone,  438. 
Escoffier,  H.,  434. 
Esnault,  G.,  453. 
Essenwein,  A.,  425. 
Estamtot,  d',  et  Vesly,  de,  463. 
Etamps,  448. 
Eu,  448. 
Eure,  431. 
Evreux,  448. 
Ewerbeck,  F.,  424. 
Ewig,  446. 

Falaise,  448. 
Fallue,  A.,  463. 
Farcy,  P,  de,  433. 
Farin,  462. 
Faucon,  444. 
Fecamp,  448. 
FeUbien,  422. 
Felibten,  M.,  464. 
Fere,  438. 
Fichot,  Ch.,  431. 
Fisqaet,  H.,  457. 


473 


BIBLIOGRAPHICAL   INDEX 


Flamboyant,  425.  ^ 

Flandin,  469. 

Fleury,  Ed.,  431. 

Fleury,  G.,  436,  452,  (3),  459. 

Fleury  et  Valee,  445. 

Florival,  de,  et  Midoux,  435,  451. 

Folledlle,  449. 

Fontaine-sur-Somme,  449. 

Forts,  P.  des,  448. 

Fosscy,  J.,  448. 

Fran<;ois,  S.,  457. 

French  catheilrals,  426. 

Fresiiay-sur-Sarthe,  449. 

Fret,  Abbe,  434. 

Fre\ille,  F.,  458. 

Froger,  Abbe,  L.,  446,  452,  459,  464,  468,  (3). 

470. 
Frothingham,  A.  L.,  438. 

Gaillon,  449. 

Galcron,  432. 

Gallia  Christiana,  421. 

Galligiiani,  456. 

Gamaches,  449. 

Gamier,  1\I.  J.,  454. 

Gassicourt,  438. 

Gausseii,  A.,  428. 

Gemahling,  465. 

GenibloiLN,  V.  de.  443. 

Gcrville,  C.  de.,  432,  (3). 

Gilbert,  A.  'S\.  P.,  438,  439,  441,  445,  457, 

(2),  461,  462,  463. 
Gillot,  430. 
Girard,  J.,  448. 
Girardot,  A.  T.,  443. 
Givelet,  453. 
Glennes,  449. 
GofTridi,  421. 
Gomart,  Ch.,  450,  465. 
Gonesse,  449. 
Gonse,  L.,  422,  437. 
Goodyear,  W.  H.,  435,  (3). 
Goron,  Abbe,  445. 
Gosselin,  J.,  442. 
Gosset,  Al.,  460,  461,  (2). 
Gourdon,  E.,  456. 
Gout,  P.,  454. 
Goutier,  Abbe,  451. 
Goze,  427,  439,  (2). 
Grand  Andely,  449. 
Graves,  432,  442,  447,  456. 
GraviUe,  449. 
Greez-sur-Roc,  449. 


Grente  et  Havard,  470. 

Grignon,  L.,  443. 

Guenet,  429. 

Gueranger,  T.,  468. 

Guerard,  Fr.,  440. 

Gugencourt,  R.  de,  439. 

Guibert,  447. 

Guide-Books,  425. 

Guifirey,  J.  J.,  464. 

Guilbert,  A.,  427. 

Guilherniy,   F.   de,   432,   457,    (2),   458,  464, 

(2). 
Guillclmus  Neubrigensis,  421. 
Guillelraus  Pictavensis,  421 
Guilmeth,  469. 
Gurlitt,  C,  424. 
Gusman,  P.,  444. 

Hairby,  J.,  430. 

Ham,  450. 

Hanibye,  450. 

Hamcrton,  P.  G.,  456. 

Hardricourt,  438,  450. 

Hartleur,  450. 

Haynie,  H.,  456. 

Hayno,  421. 

Hebecourt,  450. 

Helvig,  J.,  427. 

Henry,  V.  B.,  440. 

Ilerbe,  423,  437. 

Hessling,  E.,  456. 

Hiatt,  Ch.,  457. 

Hippeau,  C,  443. 

Hi.storical  .\ccounts.  General,  422. 

Hoffbauer,  F.,  458. 

Holtmeyer,  A.,  437. 

Honfleur,  450. 

Hoppin,  J.  M.,  427. 

HuUin,  L.,  452,  (2),  453. 

Hucher,  E.,  432,  435,  (2),  450,  453,  (2). 

Hunnewell.  J.  F.,  426. 

Hurel,  J.  M.,  465. 

Huss,  G.  M.,  427. 

Huysmans,  de,  456. 

Inkersley,  Th.,  420. 

Jadart,  H.,  461. 

Jambet,  450. 

Janin,  J.,  430. 

Joanne,  A.,  425,  426,  430. 

Joanne,  P.  B.,  445,  456,  (2),  460. 

Johnson,  R.  J.,  424. 


474 


bibliographic.il  index 


Join-Lambert,  O.,  433. 

Joliment,  F.  G.  T.  B.  de,  424,  431,  462,  (2), 

463. 
JoUy,  A.,  443. 
Joltrois,  L.,  461. 
Josse,  H.,  442,  450,  469. 
Jouaignes,  450. 
Jourdain  et  Duval,  439,  (4). 
Jousset,  Dr.,  441. 
Jubainville,  A.  de,  43-1,  437. 
Julien,  463. 
Jumieges,  450. 
Judgny,  450. 
Juziers,  438,  451. 

Kersers,  A.  B.  de,  428,  (2),  431,  443. 
Knight,  H.  G.,  429. 

La  Balle,  de,  et  als,  429. 

La  Bouillerie,  S.  de,  440,  446,  447,  469. 

Laborde,  A.  de,  424. 

Lacone,  451. 

LacroLX,  O.,  463. 

Lacroix,  P.,  423. 

La  Ferte-Bernard,  448. 

La  Ferte-Mace,  449. 

Laffaux,  451. 

La  Fons,  de,  455. 

La  Fontaine,  E.  de,  441. 

La  Hylais,  P.  de,  434. 

Laigle,  451. 

Laigne-en-Belin,  451. 

Lalaune,  462. 

Lambin,  fi.,   427,   435,   440,   452,   455,   457, 

465,  466,  467. 
La  Morliere,  A.  de,  439. 
Lance,  A.,  428. 
Langevin,  448. 

Langlois,  E.  H.,  427,  436,  450,  462,  466. 
Lanore,  M.,  445. 
Laon,  451;  diocese,  438. 
Laprairie,  de,  442,  447,  450,  451,  462,  463, 

467,    (2),  468. 
Laprairie,  de,  Pecheur  et  als,  467. 
Largny,  451. 
La  Rue,  Abbe  de,  443. 
La  Sicotiere,  L.  de,  466. 
La  Sicotiere,  de,  et  Poulet-Malassis,  432. 
Lassus  J.  B.  A.,  420,  445. 
Lassus  et  VioIIet-le-Duc,  457. 
Lasteyrie,  de,  435,  (2),  436,  458. 
Lasteyrie,  de,  et  Lefe^Te-Pontalis,  E.,  428. 
La  Tremblaye,  C.  de,  437,  468. 


Latteux,  L.,  436. 

Lam-and,  J.,  464. 

Lavardin,  451. 

Lavare,  451. 

Lealand,  W.,  462. 

Lebeuf,  422,  (2). 

Le  Beuf,  D.,  448. 

Le  Brun,  A.,  458. 

Le  Brun-Dalbanne,  469. 

Le  Chartier,  465. 

Lecbevallier-CheNignard,  427. 

Lecointe,  Abbe,  446. 

Leconte,  E.,  424,  457. 

Le  Conte,  R.,  437,  450. 

Le  Cordier,  L.,  429. 

Ledouble,  Abbe,  434. 

Ledru,  A.,  452,  (2). 

L/efaverais,  452. 

Lefe\Te,  L.  E.,  445,  447,  448,  470. 

Lefevre-Pontalis,  E.,  424,  425,  428,  434,  438, 

444,  (3),  446,  448,  449,  (3),  450,  451,  452, 

453,  (2),  454,  (3),  455,  458,  459,  464,  465, 

466,  (2),  467,  468,  470. 
Legrand  et  Landon,  456. 
L«gris,  P.,  422. 
Le  Guicheux,  A.,  422,  450. 
Le  Ha%Te,  450. 
Le  Hericher,  433,  454. 
Leibnitz,  H.,  438. 
Leliene,  Abbe,  440. 
Lemaitre,  E.,  451. 
Lemaitre,  P.,  442. 
Le  Mans,  Cathedral,  452;  La  Couture,  453; 

Eglise  du  Pre,  453;  general,  452. 
Lemasson,  Abbe,  466. 
Lemercier  et  Celtibere,  457. 
Lemoiue,  467. 
Lenoir,  A.,  436,  456. 
Lenonnand,  L.,  447. 
Le  Perche,  434. 
Leprevost,  A.,  431,  (2). 
Le  Quenx,  434. 
Leroux,  467. 
Le  Secq,  445. 
Le  Seur,  Abbe,  449. 
Levailly,  Abbe,  466. 
Levillain,  L.,  464. 
Levy,  E.,  et  Capronnier,  436. 
Lhuys,  452. 
Liard,  F.,  447. 
Lincy,  de,  et  Tisserand,  459. 
Lisieux,  452. 
Leges,  452. 


475 


BIBLIOGR-\PHICAL   INDEX 


Loisel,  433. 
Lombron,  45-2. 
Lonlay-l'Abbaye,  452. 
Loriere,  fid,  de,  440. 
Loth,  A.,  4-26,  450. 
Loth,  J.,  462. 
Louen,  467. 
Louvet,  P.,  422. 
Lou\'iers,  452. 
Liibke,  W.,  423. 
Lucot,  442. 

Macquoid,  K.  S.,  430. 
Maef,  A.,  449. 
Magne,  Abbe,  466. 
Magne,  L.,  436,  454. 
Maine,  429. 

iVIalastrie,  de,  et  Faudet,  458. 
Male,  £.,  434,  (2). 
Mamers,  452. 
Manche,  431. 
Marchand,  Abbe,  430. 
Marchand,  J.,  436. 
Marguerje,  R.,  443. 
Marguillier,  A.,  468. 
Marignan,  437,  (2),  445,  463. 
Marion,  J.,  451. 
iSIarlot,  Dom,  460,  (2). 
Marquis,  L.,  448. 
Marquiset,  451. 
MaroUes,  453. 
Martin  et  Cahier,  442. 
Martin  et  Lacroi.\,  467. 
Masse,  H.  J.  L.  J.,  445,  454. 
Mathon,  447. 
Matthaei,  A.,  437. 
Maugendre,  A.,  447. 
MeaiLx,  453;  diocese,  433. 
Medelsheim,  G.  C.  de,  427. 
Medieval  Master  Builders,  437. 
Melle\Tlle,  451. 

Meloizes,  A.  des,  435,  442,  443. 
Melun,  S.  R.,  de,  445. 
Mely,  F.  de,  445,  (2). 
Merimee,  Lenoir  et  als,  423. 
Merlet,  R.,  444. 
Merlet  et  Clerval,  422. 
!Merson,  L.  O.,  435. 
Meulan,  438,  453. 
Meyer,  C,  434. 
ilichaiLx,  467. 
Molandon,  B.  de,  455. 
Mommeja,  J.,  437. 


Monasticon  Gallocanum,  437. 
Moncel,  T.  du,  431,  453. 
Monographs,  438. 

Monographs    of    Several    ^lonuments    com- 
bined in  one  volume,  438. 
Montaiglon,  A.  de,  466. 
Montluisant,  E.  G.  de,  457. 
Montmorency.  454. 
!Mont-Notre-Dame,  453. 
Mont-St.-Michel,  454.      • 
Moore,  C.  H.,  425. 
Morance,  C.  L.,  436,  448. 
Morand,  458. 
Moret,  454. 
Morienval,  454. 
Mortet,  v.,  437,  457. 
Moulard,  P.,  468. 
Mouhn,  du,  422,  440. 
Moustier,  du,  422. 
Moutie,  A.,  445. 
Muldrae,  422. 
Muller,  Abbe,  453. 
Murray,  J.,  426,  457. 

Namps-au-Val,  454. 

Nesfield,  W".  E.,  424. 

Nesle,  454. 

Neuilly,  455. 

Neustria  Pia.  422. 

Nodier  et  Taylor,  426. 

Noel-St.-Martin,  455. 

Nonancourt,  455. 

Nomiand,  A.,  438. 

Normand,  C.  N.,  450,  457. 

"Xormandie  Monumentale,"  429. 

Normandy,  429. 

Notre  Dame-de-l'Epine,  455. 

Noyou,  455;  diocese,  438. 

Oise,  432. 

Orbais,  455. 

Orderici  Vitalis,  420. 

Orleannais,  430. 

Orleans,  455. 

Ornament,    Flora,    427;  general,    427;  poly- 

chromy,  428:  ritualistic  utensils,  428;  tiles 

and  pavements,  428. 
Ormes,  T.  des,  437. 
Ome.  432. 
Orrouy,  456. 
Orville,  455. 
Ottin,  L.,  436. 
Oulchy,  438,  456. 


476 


BIBLIOGRAPHICAL   INDEX 


Pacy,  456. 

Pallu,  H.,  453. 

Paris,  cathedral,  457;  diocese,  434;  environs, 
457;  general,  456;  guide-books,  456;  St. 
Aignan,  457;  Ste.  Chapelle,  458;  St.  Eti- 
enne-du-Mont,  458;  St.  Eustache,  458;  St. 
Germain,  458;  St.  Jacques,  458;  St.  Julien- 
le-Pauvre,  458;  St.  Martin-des-Champs, 
458;  topography,  458. 

Paris  et  Fleury,  460. 

Parker,  J.  H.,  443. 

Parmentier,  E.,  463. 

Patenotre,  E.,  469. 

Patty,  E.,  448. 

Pecheur,  Abbe,  422,  456,  459,  462. 

Peigne,  C,  424. 

Peigne,  E.,  454. 

Pennell,  E.  E.,  451. 

Pensee,  Ch.,  455. 

Pepin,  J.,  443,  465,  (2). 

Perdrau,  J.,  458. 

Perkins,  Eev.  T.,  439,  462. 

Pernant,  459. 

Perseigne,  459. 

Persignan,  453. 

Pesche,  432. 

Petigny,  J.  de,  434. 

Petit,  A.,  447,  459. 

Petit,  Eev.  J.  L.,  427. 

Petit,  v.,  433,  (2),  466. 

Petit-Quevilly,  459. 

Picardy,  430. 

Pigeon,  Abbe,  E.  A.,  433,  446. 

Pihan,  Abbe,  L.,  432,  441. 

Pillet,  J.,  422. 

Pilhon,  L.,  461,  462,  (4). 

Pillon,  E.,  451. 

Piper,  434. 

Pirmil,  459. 

Plat,  Abbe,  469. 

Plessis-Grimoult,  459. 

Pocquet,  467. 

Poissy,  459. 

Pommeraye,  Dom,  422,  (2). 

Ponce,  459. 

Pontoise,  459. 

Poquet,  Abbe,  467,  (2),  468,  470. 

Poquet  et  de  Laprairie,  467. 

Poree,  Abbe,  446,  448. 

Poree,  Ch.,  440. 

Pougeois,  A.,  454. 

Poussin,  Abbe,  461. 

Presles,  460. 


Prioux,  438,  440,  443,  444,  450,  451,  452,  454, 

466. 
Prousel,  460. 
Provins,  460. 
Pugin,  A.  W.,  428. 
Pugin  et  Le  Keux,  429. 
Puiseaux,  460. 

Quantin,  433. 

Quentin,  466. 

Quesnel,  Abbe,  456. 

Queyron,  457. 

Quicherat,  J.,  423,    (4),   425,   429,  435,   440, 

448,  451,  458,  (2),  461,  463,  469. 
Quincy,  Q.  de,  423. 

Rame,  A.,  463. 

Ramee,  D.,  427. 

Ravenez,  L.  W.,  460. 

Regnier,  L.,  425,  429,  448,  455,  465. 

Reims,  Cathedral,  461;  general  460;  guide- 
books, 460;  St.  Remi,  461. 

Renaud,  Ed.,  463. 

Renault,  446. 

Ressons-sur-Long,  462. 

Reteuil,  462. 

Reymond,  M.,  Vitiy,  P.,  et  Briere,  G., 
437. 

Riat,  G.,  456. 

Ribaux  et  Pioux,  469. 

Richomme,  P.,  465. 

Rickman,  T.,  426. 

Ricordeau,  A.,  448. 

Rivoire,  439. 

Robida,  A.,  426. 

Rocher,  Abbe,  463. 

Rodiere  et  Guyencourt,  430. 

Roger-lMiles,  L.,  437. 

Romelot,  443. 

Roquet,  H.,  451. 

Rouen,  Cathedral,  462;  general,  462;  guide- 
books, 462;  St.  Laurent,  463;  St.  Maclou, 
463;  St.  Ouen,  463;  St.  Vincent,  463. 

Rousseloy,  463. 

Rothier,  F.,  461. 

Roze,  439. 

Ruprich-Robert,  429,  443. 

Ruskin,  J.,  439. 

Sable,  463. 

St.  Baudry,  463. 

St.  Benoit-sur-Loire,  463. 

St.  Bohaire,  464. 


477 


BIBLIOGRAPHICAL   INDEX 


St.  Calais,  464.  ^ 

St.  Ceneri,  464. 

St.  Deiiis,  464. 

St.  Fargeau,  G.  de,  4'26. 

St.  Germain,  S.  de,  433. 

St.  Genner,  464. 

St.-Ger\'ais-de-Pontpoint,  465. 

St.-Hilaire-en-Lignieres,  465. 

St.-Jean-aiix-Bois,  465. 

St.  Leu  d'Esserant,  465. 

St.  Loup,  465. 

St.  Paul,  A.,  4-24,  4-25,  (3),  426,  427,  (2),  430, 

435,  448,  (2),  454,  (2),  457,  459,  461,  464. 
St.-Pierre-figlise,  465. 
St.-Pierre-de-Montsort,  465. 
St.-Pierre-sur-Dives,  465. 
St.  Quentin,  465. 
St.  Satur,  465. 
St.  Thibaud,  466. 
St.  AVaiidrille,  466. 
Salvaudy,  de,  445. 
Sanoner,  G.,  470. 
Santeuil,  466. 
Sarthe,  432. 
Sauvageot,  C,  457. 
Sauvageot,  L.,  465. 
Sauvan  and  Scbmidt,  458. 
Sa\igny,  466. 

Schaefer  and  Rossteuscher,  435. 
Schlosser,  J.  von,  420. 
Sclimid,  :M.,  436. 
Schuyler,  M.,  454. 
Sculpture,  436. 
Seez,  466. 
Seine,  432. 
Seine-Inferieure,  432. 
Seine-et-Mame,  432. 
Senlis,  466. 
Sens,  466. 

Sherrill,  C.  H.,  435. 
Sidney-Hewkins,  de,  425. 
Simon,  D.,  433. 
Soissons,  434,  438;  cathedral,  467;  en\'irons, 

467;   general,  466;   Notre  Dame,  467:   St. 

Jean-des-Vignes,  467;  St.  L%er,  467;  St. 

Medard,  468. 
Solesmes,  468. 
Soloyns,  Ed.,  438. 
Sommes,  433. 
Sommerard,  A.  du,  460. 
Sommerard,  E.  du,  426. 
Songe,  468. 
Sources,  General,  420. 


Sourdel.  .\bbe,  442. 
Sou\igne.  468. 
Stained  Glass,  435. 
Stein,  H.,  424,  445. 
Suger,  420. 
Suze,  468. 
Symbolism,  434. 

Taillefontaine,  468. 

Taillcpied,  C.  K'.,  459. 

Tarbe,  P.,  428,  460,  46L 

Tarbe,  T.,  466. 

Tavernier  et  Nee,  426. 

Taylor,  I.,  453,  400. 

Technical  Works,  438. 

Texier,  J.  R.  A.,  436. 

Theophilus.  420. 

Thibaud,  E.,  430. 

Thorigny,  431. 

Tonce.  468. 

Toublet,  E.,  451,  459. 

Touring  Club  de  France,  428,  429,  430,  (2), 

457. 
Toumeur,  V.,  460,  461. 
Tou-ssaint-Duplessis,  D.,  453. 
Transition,  the,  424. 
Travel  and  Description,  426. 
Trebutien,  443. 
Treml)lay,  V.,  432,  441. 
Tresson,  468. 
Triel,  438. 
Triger,  R.,  453,  466. 
Troche,  N.  M.,  458,  (2). 
Trompette,  M.,  460. 
Trou,  Abbe,  460. 
Troyes,   434;   general,    468;   cathedral,   469; 

St.  Jean,  469:  St.  Pantaleon,  469:  St.  Ur- 

bain,  469. 
Turner,  D.,  429. 

Ungewitter,  438. 

Vailly,  469. 

Valognes,  469. 

Valois,  430. 

Vangelas,  L.  de,  424. 

Vangeois,  469. 

Vansittard,  S.  N.,  445,  470. 

Varin,  447. 

Vaudin-Bataille,  E.,  466. 

Vautier.  443. 

Vavasseur,  Em.,  449,  (2). 

Vavasseur,  J.,  444. 


478 


BIBLIOGRAPHICAL   INDEX 


Vendome,  434,  469. 

Verhaegen,  A.,  436. 

Verneilh,  F.  de,  425,  459,  464. 

Verite  —  Lefe^Te-Pontalis,  453. 

Verneuil,  469. 

Vernier,  A.,  446. 

Verron,  469. 

Vers,  469. 

Vertus,  de,  438. 

Vezelay,  469. 

Viau,  M.  P.,  450. 

Vic,  470. 

Vignat,  G.,  455. 

ViUard  de  Hoiinecourt,  420. 

Villedieu-les-Poeles,  470. 

Villefosse  et  Courajod,  455. 

Villers-St.-Paul,  470. 

Viole,  Dom,  422. 

VioUet-le-Duc,  438. 

Vitet,  426,  432. 

Vitet  et  Ramee,  455. 

Vitry  et  Briere,  437,  464. 

Voge,  W.,  436. 

Votarius,  H.  P.,  421. 


Wace,  R.,  420. 

Westlake,  N.  H.  J.,  435. 

Whittington,  423. 

Wild,  C,  424. 

■Willemin  et  Pettier,  437. 

WilHs,  R.,  425. 

Wilson,  E.,  426. 

Winkles,  B.,  426. 

Wismes,  429. 

Witte,  J.  de,  443. 

Woaiez,  E.,  430,  (3),  432,  434. 

Woillez,  E.  J.,  425,  (2),  433. 

Works  dealing  with  separate  provinces,  428. 

Works    of    Limited    TectiLiical    or    Historic 

Scope,  434. 
Works  of  Reference,  428. 
Works  on  Separate  Bishoprics,  433. 

Xivrey,  M.  B.  de,  442. 

Yonne,  433. 
Yriarte,  Ch.,  459. 
Yvetot,  470. 


479 


GENERAL  INDEX 

References  to  dejinitions  and  explanations  are  jollowed  by  a  cross  (f)  those  to  the  lists  of 
monuments  by  an  asterisk  (*). 


Aachen,  Dom,  70,  276. 

Abacus,  continued  as  a  string-course,  98;  pro- 
file in  Gothic  period,  294;  profile  in  tran- 
sitional period,  98;  proportioned  to  size  of 
load  in  transitional  period,  98;  round,  295; 
transitional,  Dl.  194. 

Abbe\'ille,  commune,  164. 

Abbe\-iUe,  St.  Vulfran,  393,*  111.  281;  mould- 
ings, 381. 

Abbecourt,  EgUse,  248.* 

Abelard,  146. 

Abraham,  sjTnbol  of  God,  129. 

Acanthus,  development  of  in  the  transitional 
period,  104;  in  cornices  in  the  transitional 
period,   100;  in  flamboyant  period,  386. 

Acheres,  Eghse,  43.* 

Achy,  Eghse,  21.* 

Acy-en-Multien,  figlise,  230,*  59;  rib  vault, 
56. 

Adam,  symbol  of  Christ,  127. 

Agincourt,  battle  of,  366. 

AgneaiLx,  Chapelle,  359.* 

Agnetz,  Eglise,  341.* 

Aigle,  St.  Martin,  410:* 

Aigneville,  St.  Martin,  249.* 

Ailly-sur-Noye,  Eglise,  358.* 

Ainay-le-Vieil,  Eghse,  340.* 

Airaines,  Notre  Dame,  213 ;  *  date,  53 ;  nave 
vaults,  76;  rib  vaults,  57;  system,  59. 

Aires-les-Mello,  Eghse,  339.* 

Aisne,  transitional  architecture  of,  55. 

Aix-d'Angillon,  St.  Ythier,  25.* 

Aix-en-Othe,  Eghse  de  la  NatiWte,  411;*  St. 
A%'it,  411.* 

Aizy,  St.  Medard,  219.* 

Albi,  Cathedrale,  111.  260,  290,  381. 

Alen9on,  Notre  Dame,  396,*  111.  279,  111. 
284;  porch,  379;  vaults,  382;  St.  Leonard, 
411.* 

Ahcamps,  fighse,  29.* 

Allegorical  significance  of  Gothic  imagery,  121 
seq. 


Allogny,  Eghse,  340.* 

Allonne,  Eghse,  236.* 

AUouis,  figUse,  42.* 

Almeneches,  Eglise,  402.* 

Almenno,  Baptistery,  70. 

Alternate  system  in  the  lie  de  France,  59 
note  2. 

Amaye,  Notre  Dame,  357.* 

Ambleny,  Eghse,  337.* 

Ambulatory  in  Auvergne,  70;  in  use  on  the 
borders  of  the  He  de  France  in  the  XI 
century,  8. 

Ambulatory  Vaults  at  Morienval,  69  seq;  at 
Sens,  73;  developed  at  Pontoise,  73;  im- 
proved at  St.  Denis,  73;  in  the  Gothic  era, 
276  seq.;  significance  of,  75. 

Amiens,  Eghse  Cathedrale  Notre  Dame,  304,* 
111.  219,  lU.  234,  111.  236,  111.  250,  111.  253, 
HI.  254,  111.  265,  111.  266,  lU.  289;  abaci  of 
triforium  capitals,  295;  Beau  Dieu,  301; 
capitals,  272;  chapel  of  St.  Jean-Baptiste, 
365;  facade,  284;  flying  buttresses,  274; 
glazed  triforium  in  chevet,  278 ;  iconography 
of  sculptures,  134;  interior  design,  277; 
nave  chapels,  279;  parapets,  287;  pinnacles, 
274;  plan,  281;  sculptures,  131,  301;  sculp- 
tures of  choir  screen,  387;  sculptures  of 
south  transept  portal,  303;  statue  of  St. 
Dominic,  301;  statue  of  St.  George,  301; 
statue  of  St.  Jerome,  301;  statue  of  St. 
Martin,  301;  statue  of  St.  Stephen,  301; 
statue  of  St.  Warlus,  302;  string-course  of 
nave,  293;  system,  271;  vault  of  crossing, 
382;  commime  of,  163;  diocese  of,  transi- 
tional architecture,  55;  St.  Germain,  398,* 
lU.  282;  mouldings,  381;  vaults,  382;  St. 
Leu,  398;  *  St.  Remi,  398.* 

Anagni,  261. 

Ancourt,  Eglise,  414.* 

Angicourt,  Eglise,  219.* 

AngiviUers,  Eghse,  21.* 

Angle  turrets,  apphed  to  spires,  94. 


481 


GENER.\L   INDEX 


Angy,  Eglise,  22-1.* 

Angj'-sur-rAubois,  Eglise,  30.*  v 

Annoye,  Eglise,  3-2.* 

Ansacq,  St.  Lucien,  232.* 

Appe\'ille-Aiinebaut,  Eglise,  395.* 

Apse,  polygonal,  advantages  of,  82;  evolution 
of,  80. 

Apsidal  chapels,  number  increased,  75. 

Ar9aj',  Eglise,  48.* 

Arceuil,  St.  Denis,  339.* 

Arch,  flattened,  374;  f  four-centered,  373;  f 
hanging,  375 ;  t  ogee,  see  ogee  arch ;  three- 
centered,  373;  t  Tudor,  373.t 

Archivolts,  flamboyant,  385;  profiles  of  in 
transitional  period,  100;  of  windows  and 
doonv'ays,  101;  in  two  orders,  11;  transi- 
tional of  arches.  111.  199;  transitional  of 
doorways.  III.  201;  transitional  of  windows, 
111.  200. 

Arcomps,  EgUse,  35.* 

Arcy-Ste.-Restitute,  Eglise,  218;  *  flying  but- 
tresses, 92. 

Ardemiais,  Eglise,  35.* 

Ardennes,  Abbaye,  337.* 

Ardevon,  Chapelle  de  St.  Gilles,  413.* 

Argent,  EgUse,  351.* 

Argentan,  St.  Martin,  396;*  St.  Germain, 
395.* 

Aristotle,  influence  on  the  thought  of  the  XIII 
centurj',  257. 

Arithmetic,  131. 

Aries,  St.  Tropliine,  112,  113. 

Arques,  Notre  Dame,  395.* 

Arsago,  Baptistery-,  70. 

Arts,  seven,  131. 

Asnieres,  EgUse,  37,*  352.* 

Aspic,  sj-mbolism  of,  130. 

Assigny,  Eglise,  45.* 

Astronomy,  131. 

Athis,  EgUse,  249.*  414.* 

Attic  base,  used  in  the  transitional  period,  98. 

Attributes  in  medieval  iconography,  133. 

Aube,  roof  scheme  of  flamboyant  churches, 
111.  280,  379. 

AuberviUiers,  EgUse,  409.* 

Aubigny,  St.  Martin,  333.* 

Aubri,  Eglise,  360.* 

Audemer,  St.  Ouen,  372. 

Audrieu,  Chapelle,  361.* 

Aumale,  EgUse,  406;  *  St.  Pierre,  400.* 

Aumatre,  EgUse,  362.* 

Aunon-sur-Ome,  Ste.  EulaUe,  388.* 

Aureole,  133;  t  significance  of,  133. 


Autheuil,  Eglise,  241.* 

Autheuil-en-Valois,  Prieure,  236;  *  St.  Mar- 
tin, 236.* 

Auvergne,  ambiJatories  of,  70. 

Auvers,  EgUse,  216,*  111.  174;  apse,  80. 

Auvers-le-Hamon,  EgUse,  37.* 

AuN-iUer,  Eglise,  228.* 

Auxerre,  Abbaye  St.  Germain,  325;*  Cathe- 
dral, 324;*  quadripartite  vaults,  268;  St. 
Eusebe,  325.* 

Auxon,  EgUse,  410.* 

AvaUeurs,  Commanderie  du  Temple,  356.* 

AvaUon,  St.  Ladre,  23;  *  St.  Martin,  24.* 

Avor,  Eglise,  29.* 

A\Tanches,  Xotre  Dame-des-Champs,  357;  * 
St.  Satumin,  357.* 

A\Techy,  St.  Lucien,  234.* 

Axis,  columns  and  angles  placed  on,  281. 

Azy,  EgUse,  340.* 

Azy-Bonneil,  EgUse,  221.* 

Babylonian  Captivity,  262. 

Bacque\-iUe,  EgUse,  414.* 

Bagnolles-les-Bains,  ChapeUe  de  lagnoux, 
3G1.* 

Bailleul,  EgUse,  356.* 

Bailleval,  EgUse,  225.* 

Balagny-sur-Therain,  EgUse,  21.* 

Balleroy,  EgUse,  350.* 

BaUon,  St.  :Mers-sous-BaUon,  47.* 

Balustrades,  triforium,  288. 

Bangj-,  St.  Martin,  36.* 

Bamiay,  EgUse,  409.* 

Bannegou,  St.  ^lartin,  48.* 

Barbery-St.-Sulpice,  St.  Sulpice,  41.* 

Bare,  EgUse,  356.* 

Bare  feet,  significance  of,  133. 

Barlieu,  EgUse,  361.* 

Barrel  vault,  in  the  lie  de  France  in  the  XI 
centurj',  12;  in  the  Be  de  France  in  the 
XII  centurj-,  62;  pointed,  in  Berry  in  the 
XI  and  XII  centuries,  8;  semicircular  in 
Bern.'  in  the  XI  centurj-,  9. 

Bar-sur-.\ube,  Chapelle  St.  Jean,  412;*  St. 
Maclou,  25;  *  St.  Pierre,  25.* 

Bar-sur-Seine,  Eglise,  395.* 

Base,  Gothic.  295  seq.;  Gothic,  evolution  of, 
99;  interpenetrating  at  St.  Satur,  364;  of 
the  Romanesque  of  the  He  de  France,  13; 
profile  in  flambojant  period,  385;  profile 
in  transitional  period,  98;  suppUed  with 
griffes  in  the  transitional  period,  99;  tran- 
sitional, 111.  195. 


482 


GENERAL   INDEX 


Base  stone,  99;  t  evolution  of,  99. 

Basilisk,  symbolism  of,  130. 

Bayeux,  Abbaye  St.  Vigor,  346;*  Cathedral, 
288;  Chapelle  du  Seminaire,  346.* 

Bazancourt,  251.* 

Bazenville,  figlise,  355.* 

Bazoehes,  St.  Pierre,  226.* 

_Bazouges-sur-Loire,  St.  Aubin,  27.* 

Beaufort-en-Santerre,  Eglise,  222.* 

Beaimiont-le-Roger,  Prieure,  340;  *  St.  Nich- 
olas, 340.* 

Beamnontel,  Eglise,  348.* 

Beauquesne,  Eglise,  237.* 

Beauvais,  Eglise  Cathedrale  St.  Pierre,  311,* 
111.  240,  lU.  227,  111.  231;  capitals,  272; 
flying  buttresses,  276 ;  glazed  triforium,  278 ; 
parapets,  387;  piers,  271;  pj'ramidal  sec- 
tion, 279;  transept  ends,  373,  379:  com- 
mune, 161:  La  Madeleine,  211:*  St.  Bar- 
thelemy,  312:*  St.  fitienne,  211,*  111.  162, 
III.  213;  nave  vaults,  77;  stilted  transverse 
ribs,  66;  wheel  of  fortune,  105,  111.  266:  St. 
Gilles,  211:*  Ste.  Marguerite,  413.* 

Beauval,  Eglise,  223.* 

Beauvoisis,  transitional  architecture  of,  55. 

Bee,  Abbaye.  405.* 

Becquigny,  Eghse,  249.* 

Bellefontaine,  Prieure,  210;  *  date  of,  53;  nave 
vaults,  76 ;  profiles  of  archi volts,  100 ;  system, 
59. 

Belleme,  Eglise,  410;  *  Prieure  St.  Martin, 
360.* 

Belleuf,  figlise,  415.* 

Belleville,  Eglise,  401.* 

Belloy,  figlise,  350.* 

Bengy,  figlise,  28.* 

Beny,  Eglise,  242.* 

Bemay,  Notre  Dame-de-la-Couture,  398,*  111. 
270;  Ste.  CroLv,  397,*  365,  386,  381. 

Berneuil-sur-Aisne,  Eglise,  17.* 

Berny-Riviere,  S.  Martin,  15.* 

Berry,  Romanesque  architecture  of,  9;  Ro- 
manesque ornament  of,  10. 

Berteaucourt-les-Dames,  Eglise,  229.* 

Berulles,  Eglise,  400.* 

Berzy-le-Sez,  Eglise,  228.* 

Bestiaries,  129. 

Bethisy-St.-Martin,  Eghse,  223,*  111.  187. 

Bethisy-St.-Pierre,  Eghse,  226,*  111.  161,  rib 
vaults,  66. 

Beugneux,  Eglise,  232.* 

Biard,  Eghse,  412.* 

"Bible  of  the  Poor,"  117. 


Biencourt,  St.  Martin,  405.* 

Bienfaite,  Eglise,  409.* 

Billet  moulding  in  Berry,  10;  in  the  transi- 
tional period,  102. 

Binon,  Eglise,  354;*  Prieure,  15.* 

Bishops,  strife  with  abbots  in  the  XI  century, 
3. 

Bitry,  Eglise,  19.* 

Biville,  Eghse,  344.* 

Blancafort,  Eglise,  39.* 

Blangy,  Notre  Dame,  340.* 

Blangy-sur-Poix,  Eghse,  244.* 

Blesmes,  Eghse,  247.* 

Blet,  Eghse,  28.* 

Blois,  Chateau,  371;  St.  Laumer,  180. 

Bloutiere,  Eglise,  362.* 

Bonnes,  St.  Martin,  225.* 

Bonneuil-en-Valois,  Eghse,  227.* 

Bonneval,  Notre  Dame,  247.* 

Bonnieres,  Eglise,  251.* 

Bois-Commun,  Eglise,  340.* 

Bosc-Bordel,  Eglise,  358.* 

Bosc-Guirard-St.-Adrien,  Eghse,  415.* 

Bouray,  Eglise,  343.* 

Bougival,  Notre  Dame,  336.* 

Boulogne-sur-Seine,  Eglise,  338.* 

Bouy,  Eghse,  48.* 

Bourguebus,  Eglise,  360.* 

Bouquemaison,  Eglise,  412.* 

Bouillancourt,  St.  Jacques-le-Majeur,  412.* 

Bourg-Achard,  Eglise,  413.* 

BouUeret,  Eghse,  411.* 

Bourguignons,  St.  Plet,  406.* 

Bouilly,  St.  Laurent,  402.* 

Bouzais,  Eglise,  46.* 

Bourg,  Eglise,  358.* 

Bourges,  Eglise  Cathedrale,  312,*  111.  214, 
111.  233,  lU.  239,  m.  243,  111.  264,  HI.  267, 
HI.  288;  ambulatory  vaults,  75,  276;  fly- 
ing buttresses,  275:  capitals,  272;  Joseph 
window,  126;  plan,  281;  pyramidal  section, 
278  seq.;  stained  glass,  131,  299;  stained 
glass  windows  of  the  Ste.  Chapelle,  300; 
system,  272;  tower,  372:  Chapelle  St. 
George,  313:*  Chapelle  de  St.  Jean-Bap- 
tiste,  399:*  Convent  des  Augustins,  399:* 
Convent  des  Carmes,  399 :  *  Couvent  de  Ste. 
Jeamie,  390:  *  Notre  Dame,  399:  *  Notre 
Dame-de-Sales,  313:*  Prieure  St.  Paul, 
26:*  Prieure  St.  Michel,  399:*  St.  Aous- 
trillet-du-Chateau,  399:*  St.  AoustriUet, 
399:  *  St.  Bonnet,  399:  *  Ste.  Croix,  399:  * 
St.  Fulgent,  313:  *  St.  Jean-le-Vieux,  26:  * 


483 


GENERAL    INDEX 


St.  Martin-des-Champs,  27:*  St.  Medard, 

399:*    St.     Pierre-le-Guillard,    313:*    St. 

Prive,  27.* 
Boulogne,  St.  Ulmer,  80. 
Bouvincourt,  St.  Hilaire,  244.* 
Boutencourt,  St.  fitiennes,  247.* 
Braisne,  St.  Yved,  325.* 
Branville,  Eglise,  360.* 
Brasle,  St.  Quentin,  227.* 
Bray,  Eglise,  358;  *  St.  Nicholas,  228.* 
Brecy,  St.  Michel,  227.* 
Breuil,  figlise,  3G0.* 
Breuil-le-Sec,  figlise,  250.* 
Breuil-le-Vert,  Eglise,  19.* 
Brenouille,  Eghse,  250.* 
Bresles,  figlise,  20.* 
Breteuil,  Abbaye,  248;  *  St.  Cyr,  248.* 
Breteville,  Notre  Dame,  360.* 
Breuil-Benoit,  Abbaye.  332.* 
Breu^Ue,  362.* 

Brie-Comte-Robert,  figlise,  340.* 
Brienney,  St.  Pierre  et  St.  Paul,  349.* 
Brinay,  figlise,  45.* 
Brionne,  Notre  Dame,  355;  *  St.  Denis,  355;  * 

St.  Martin,  355.* 
Brique'.alle,  figlise,  411.* 
Broken  rib  vaults,  73,t  111.  167,  74. 
Brouray,  figlise,  360.* 
Brueres,  Abbaye  de  Noirlac,  25;  *  Chapelle  St. 

Pierre,  48;  *  St.  Martin,  226.* 
Building  models,  ancient  and  medieval,  187. 
Buleux,  figlise,  247.* 
Bulles,  Abbaye,  247.* 
Burgundian  influence  in  the  De  de  France, 

102. 
Burgundian  Wars,  369. 
Bury,   figlise,   217,*  111.   170,   111.   209;  nave 

vaults,  77;  ribbed  half-dome,  78;  rib  vaults 

not  domed,  57;  transverse  ribs  loaded,  67. 
Uussaires,  figlise,  222.* 
Bussy,  figlise,  35.* 
Buttress,  angle,  379:  t  concealed  by  portals, 

386;  flamboyant,  381;  in  the  XII  century, 

95. 
Buttressing  of  barrel  vaults  in  Berry  in  the 

XI  and  XII  centuries,  10. 

Caen,  Ancienne  figlise  des  Cordeliers,  see 
fighse  des  Benedictines:  Ancienne  figUse 
St.  fitienne-le-Vieux,  405 :  *  fighse  des 
Benedictines,  405 :  *  Notre  Dame-de-Froide- 
Rue,  see  St.  Sauveur:  St.  Jean,  330:  *  St. 
Ouen,  405:*  St.  Pierre,  329,*  111.  257,  111. 


259,  111.  272;  choir,  389;  spire,  289;  tri- 
forium  balustrade,  288;  vaults,  383:  St. 
Sauveur,  330:  *  St.  Sauveur-du-Marche, 
330.* 

Cagny,  St.  Germain,  359.* 

Calf,  symbolism  of,  130. 

Cambrai,  Cathedrale,  HI.  216;  commune, 
161. 

Cambronne,  Eglise,  216.* 

Canly,  St.  Martin,  240.* 

Canons  regular,  popularity  in  the  XII  cen- 
tury, 177. 

Canopy,  flamboyant,  375. 

Canterbury,  Cathedral,  Gervase's  account  of 
the  building  of,  189. 

Capital,  crocketed,  105;  design  in  rayonnant 
period,  293;  design  in  transitional  period, 
104;  foliage  omitted,  295;  Gothic,  propor- 
tioned to  diameter  of  piers,  272;  natural- 
istic, 292;  omitted,  293,  380;  reduced  in 
size,  364 ;  Romanesque  in  the  He  de  France, 
13;  running,  design  of  in  Gothic  period, 
272;  set  normal  to  diagonals,  295,  91; 
structural  function  of,  97;  thickness  of 
abacus  proportioned  to  size  of  load,  98. 

Carcassonne,  Cathedrale,  381. 

Carenton,  figlise,  393.* 

Carthusian  order,  175;  architecture  of,  175. 

Catenoy,  Abbaye,  221 ;  *  rib  vaults,  57. 

Caudebec-en-Caux,  Notre  Dame,  392,*  111. 
273,  111.  275;  chevet,  377;  porch,  379:  Ste. 
Gertrude,  393.* 

Caulfry,  fighse,  220.* 

Cauvigny,  St.  Martin,  238.* 

Centurion,  symbol  of  Church,  129. 

Cerisy-Buleu-x,  Eglise,  251.* 

Cerlangues,  fighse,  359.* 

Cerny-en-Laonnais,  fighse,  220.* 

Cerseuil,  St.  Pierre,  224;  *  portal,  68. 

Chabhs,  Eglise,  345.* 

Chacrise,  Notre  Dame,  228.* 

Chalivoy-Milon,  figlise,  30.* 

ChaUs,  Abbaye,  359;  *  figlise,  362.* 

Chalons-sur-Marne,  Cathedral,  328,*  mould- 
ings, 381:  Notre  Dame,  203,*  lU.  182,  111. 
242;  ambulatory  vaults,  276;  flying  but- 
tresses, 92;  system,  90:  Notre  Dame-de- 
rfipme,  391,*  111.  276;  archaistic  style,  384; 
facade,  378;  towers,  378;  vaults,  382:  St. 
.-Upine,  204;*  system,  90;  St.  Jean,  205.* 

Chamant,  fighse,  244,*  lU.  188. 

Chambly,  Eghse,  245.* 

Chambon,  figlise,  34.* 


484 


GENERAL   INDEX 


Champagne,  Abbaye,  48;  *  Eglise,  334.* 

Champagne,  ambulatory  vaults,  276. 

Champaissant,  St.  GiUes,  47.* 

Champeaux,  Eglise,  334.* 

Champigny,  Eglise,  338.* 

Chapelle-St.-Luc,  Eglise,  406.* 

Chapelle-sur-Crecy,  Eglise,  335.* 

Chapels,  nave,  279. 

Chappes,  Eglise,  46.* 

Chapter-house,  French,  291. 

Chapters,  importance  of  in  the  XII  century, 
177. 

Charenton,  Abbaye,  31;*  St.  Martin,  31.* 

Charles  V,  265. 

Charly,  Eglise,  28.* 

Charost,  St.  Michel,  30.* 

Chartentonay,  Eglise,  350.* 

Chartres,  Eglise  Cathedrale  Notre  Dame, 
309,*  111.  190,  111.  215,  111.  218,  111.  229, 
111.  249,  111.  256;  capitals,  272;  cart  cult, 
155  seq.;  date  of  western  portions,  53;  de- 
sign of  fa9ade,  95;  flying  buttresses,  274; 
interior  design,  277;  northern  spire,  378; 
plan,  281;  sculptures,  113;  stained  glass 
windows,  131;  transept  facades,  287;  Vieux 
Clocher,  94;  window  of  south  transept, 
125:  primitive  cathedral,  ambulatory  of, 
9:  St.  Andre,  311:  *  St.  Pierre,  310.* 

Chars,  Eghse,  229.* 

Chassy,  Eglise,  34.* 

Chateaudun,  La  Madeleine,  31;*  St.  Jean, 
31;*  St.  Valerien,  31.* 

Chatea,u-du-Loire,  St.  Guingalois,  353.* 

Chateau-Landon,  Notre  Dame,  35 ;  *  St. 
Andre,  35*;  St.  Severm,  36;*  St.  Ugalde, 
35.* 

Chateau-Meillant,  Le  Chapitre  or  Notre 
Dame,  24;  *  St.  Genes,  24.* 

Chateau-Thierry,  St.  Crepin,  408.* 

Chatillon,  Eghse,  406.* 

Chautay,  Eglise,  36.* 

Chavannes,  Eghse,  48.* 

Chavigny,  Eglise,  221.* 

Chelles,  Eghse,  229,*  LI.  206. 

Chennevieres,  St.  Pierre,  344,*  281. 

Cherbourg,  La  Trinite,  399.* 

Chery,  Eghse,  414.* 

Chevron,  in  Berry,  10 ;  not  f oimd  in  the  lie  de 
France  in  the  XI  century,  13;  in  the  tran- 
sitional period,  102. 

Chevet,  polygonal,  in  Gotliic  period,  277. 

Chevet  vault,   79;  t   applied   to   square   east 


evolved  structurally  not  decoratively,  80; 
perfected,  82;  stilting  of  wall  rib,  79;  struc- 
tural character,  83. 

Chezal-Benoit,  Abbaye,  26.* 

Chicheboville,  362.* 

Chiry-Ourscamp,  Abbaye  d'Ourscamp,  336.* 

Chitry,  Eglise,  336,*  290. 

Chivry-les-Etouvelles,  Eghse,  21.* 

Choirs  prolonged,  75. 

Church,  French  and  Norman  churches  in 
the  XI  century  compared,  5:  French,  in 
the  XI  century,  2:  French  in  the  XII  cen- 
tury, 168;  power  of,  178;  resources,  170; 
reform  of,  172;  reform  of  chapters,  177:  in 
the  XIII  century,  256;  taxation  of,  260:  in 
the  XIV  century,  257;  dechne  of,  260; 
financial  ruin  of,  260;  hated,  259:  in  the  XV 
century,  366;  financial  ruin,  367:  in  the 
XVI  century,  370,  372. 

Cinqueux,  Eghse,  239.* 

Ciry,  Eghse,  224;  *  apse,  81. 

Cistercian  order,  172;  architecture  of,  173; 
dechne  of,  174. 

Citeaux,  172. 

Civray,  Eglise,  30.* 

Clairets,  Abbaye,  360.* 

Clairfeuille,  St.  Germain,  411.* 

Clairvaux,  172. 

Clamart,  Eglise,  403.* 

Claville,  Eglise,  414.* 

Clemont,  Eghse,  349.* 

Clerey,  Eghse,  355.* 

Cleristot,  Eglise,  359.* 

Clermont,  St.  Arnoult,  246;*  St.  Samson, 
246.* 

Clery,  Notre  Dame,  397.* 

Cleville,  Eglise,  359.* 

Cloistered  Vault  in  Berry,  10. 

Cloisters  in  the  He  de  France,  95. 

Cluniac  Reform  in  France,  3;  only  partially 
successful,  172. 

Collegiate  churches  in  the  XII  century,  177. 

Colomby,  Eghse,  350,*  290. 

Commeaux,  362.* 

Communes,  opposed  by  Clergy,  164;  rise  of, 
160. 

Compiegne,  Eghse  des  Minimes,  250;  *  St. 
Antoine,  407;*  St.  Germain,  407;*  St. 
Jacques,  348;  *  St.  Nicholas,  348.* 

Conches,  Ste.  Foi,  394;*  piers,  377. 

Concressault,  Eglise,  34.* 

Conde-sur-Aisne,  Chapelle,  235;  *  St.  Pierre 
et  St.  Paul,  235.* 


485 


GENERAL   INDEX 


Conde-sur-Iton,  362.* 

Conflans-Ste.-Honorine,  Eglise,  US.* 

Conge-sur-Orne,  Eglise,  36.* 

Conteville,  St.  Nicholas,  243.* 

Converging  ribs,  82.t 

Coquerel,  Eglise,  248.* 

Corbeil,  St.  Spire,  nave  chapels,  279. 

Corbel-table,  arched,  in  Berrj',  10;  in  the  lie 
de  France  in  tlie  XI  century,  13;  in  the  Be 
de  France  in  the  XII  century,  59;  in  the 
transitional  period,  100:  double  arched  in 
the  transitional  period,  100:  flat,  in  Berry, 
10;  in  the  transitional  period,  100:  passes 
out  of  use,  293. 

Corbie,  conunune  of,  163;  Eglise  de  la  Neu- 
viUe-sous-Corbie,  41-t;  *  Notre  Dame,  236;  * 
St.  Etienne,  236;  *  St.  Pierre,  236.* 

Corbon,  Chapelle  du  Chateau,  356;  *  St. 
Martin,  355.* 

Cormeilles-en-Parisis,  Eglise,  245.* 

Cornice,  crocketed  in  Gotliic  period,  293. 

Cornice,  profile  in  the  transitional  period,  100, 
111.  198. 

Cornusse,  fighse,  38.* 

Corporations,  7;  t  origin  of,  7. 

Corquoy,  Abbaye  de  Grandmont,  31.* 

Corquoy,  Eglise,  31.* 

Coucy-la-Ville,  Eghse,  347.* 

Coucy-le-Chateau,  St.-Sauveur,  239.* 

Coudray,  Eglise,  356.* 

Coudrecieux,  Eglise  des  Leges,  39.* 

Coudres,  Prieure,  361.* 

Coudun,  St.  Hilaire,  227;  *  deviated  axis,  140; 
rib  vaults,  57. 

Coulognes,  Eglise,  222.* 

Coulombs,  Eghse,  361.* 

Couloisy,  Eglise,  239.* 

Coulonges,  Eglise,  system,  90. 

Courboyer,  Chapelle  du  Chateau,  414.* 

Courgerenues,  Eglise,  355.* 

Courmelles,  St.  Georges,  229.* 

Courmononcle,  Chapelle  St.  Gengoul,  48.* 

Cours-les-Barres,  St.  Pantaleon,  410.* 

Courtenot,  Eglise,  37.* 

Courthiezy,  Eghse,  237.* 

Const,  Eglise,  31.* 

Coutances,  Eglise  Cathedrale,  318,*  lU.  245, 
HI.  255;  ambulatory  vaults,  276;  fa9ade, 
288;  flying  buttresses,  274:  fljing  but- 
tresses of  chevet,  275;  pjTamidal  section 
of  chevet,  279;  spires,  288,  289:  Eghse  de 
I'Hospice,  392:*  St.  Nicholas,  392:*  St. 
Pierre,  392,*  111.  285. 


Couterne,  Eghse,  361.* 

Coutres,  Eghse,  355.* 

Couvains,  Eglise,  345.* 

Couville,  Eghse,  350.* 

Cramoisy,  St.  Martin,  21.* 

Cre-sur-Loire,  Eghse,  39.* 

Crevecoeur,  Chapelle,  361.* 

Creil,  64;  St.  E%Temont,  217;  *    St.    Medard, 

217.* 
Creney,  St.  Aventin,  346.* 
Crepy,  Notre  Dame,  356;  *  St.  Pierre,  356.* 
Crepy-en-Valois,  St.  Thomas,  354.* 
Cresancy,  Eghse,  49.* 
Creteil,  Eglise,  352.* 
Crezanc}',  Eghse,  234.* 
Crezanfay,  Eghse,  49.* 
CriUon,  Eglise,  251.* 
Crocket,  291. 
Croissy,  Eghse,  238.* 

Crosmieres,  St.  Hippolj'te  et  St.  Laurent,  40.* 
Crosses,  Eglise,  38.* 

Croultes,  Prieure,  360;  *  St.  Quiriace,  235.* 
Crouy-en-Thelle,  Eghse,  249.* 
Crouy,  St.  Maurice,  232.* 
Crouy-sur-Ourcq,  Eglise,  rib  vaults,  56. 
Crusades,  169,  259;  First  Crusade,  5. 
Cuffy,  Eghse,  27.* 
Cuise,  St.  ]Martin,  233.* 
Culant,  Notre  Dame,  49.* 
Cult  of  Carts,  151  seq. 
Cylindrical  piers,  earhest  examples  of,  88. 

Damery,  St.  Medard,  227.* 

Dampierre-en-Crot,  Eghse,  47.* 

Dam\ille,  St.  EvToult,  412.* 

Demon\ille,  Eghse,  358,*  362.* 

Deuil,  St.  Eugene,  18,*  281. 

De\iated  Axis,  139  seq.;  explanation  of,  140, 
111.  216a;  not  sjTnbohcal,  139. 

Dhuizel  St.  Remi,  226.* 

Diagonals,  cur\'ed,  72;  f  lowered,  66;  transi- 
tional profiles,  101,  Ih.  203. 

Dialectics,  131. 

Dieppe,  St.  Jacques,  393;  *  St.  Remi,  393.* 

Dies  Irae,  136. 

Dives,  Notre  Dame,  334.* 

Dog-tooth,  in  the  transitional  period,  103; 
not  fomid  in  the  lie  de  France  in  the  XI 
century,  13. 

Dome,  in  Berrj',  10;  symbohc  interpretation 
of,  138. 

Domfront,  Eghse,  245.* 

Dominicans,  176. 


486 


GENERAL   INDEX 


Dommaire,  Abbaye  du  Lys,  355.* 

Domont,  EgKse,  242,*  HI.  184;  flying  but- 
tresses, 91. 

Donnemarie,  EgKse,  341.* 

Dormers,  appKed  to  spires,  94. 

Double  walls,  in  Norman  Gothic,  288. 

DoudeviUe,  Eglise,  412.* 

Doullens,  Notre  Dame,  412;  *  St.  Pierre,  348.* 

Dourdan,  St.  Germain,  247.* 

Dove,  symbolism  of,  122. 

Dragey,  362.* 

Dravegny,  Eglise,  HI.  205. 

DraTsings,  medie%'al,  186. 

Dreux,  St.  Pierre,  394.* 

Drevant,  Eglise,  48 ;  *  Prieure,  48.* 

Drip-stone,  99 ;  t  evolution  of,  99 ;  not  used  on 
the  interior  in  the  He  de  France,  100;  struc- 
tural fmiction  of,  99,  100. 

Dun-le-Roi,  St.  Etienne,  24.* 

Dun-siur-Auron,  Eglise,  49.* 

Eagle,  symbolism  of,  130. 

East  ends,  square,  in  the  He  de  France  in  the 
Xn  century,  84;  at  FUaire,  11;  unknown 
in  Berry  before  the  XII  century,  1 1 . 

Ecaquelon,  St.  Jacques,  349.* 

EcardenviUe-la-Campagne,  Eglise,  360.* 

Echauffour,  St.  Andre,  413.* 

Ecouche,  EgKse,  349.* 

Ecouis,  EgKse  CoKegiale,  347.* 

Elbeuf,  St.  Etienne,  406;  *  St.  Jean,  406.* 

Eleventh  Century,  historical  conditions  of  in 
the  He  de  France,  1. 

EKncourt-Ste.-Marguerite,  EgKse,  249.* 

Ely,  Cathedral,  95  note. 

Engaged  arcade,  in  Berry,  10;  in  the  He  de 
France  in  the  XI  century,  13. 

Engaged  shafts  in  the  He  de  France  in  the  XII 
century,  59.  note  2. 

Ennordre,  Chapelle  St.  Georges,  351;  *  EgKse, 
351.* 

Envermen,  ChapeKe  St.  Guillain,  358;* 
Notre  Dame,  403.* 

Epau,  Abbaye,  345.* 

Epaux,  St.  Medard,  234.* 

Epineml,  Eglise,  43.* 

Episcopacy,  decadence  of  in  the  XI  century, 
2;  reform  of  in  the  XII  century,  178;  tem- 
poral power  of  in  the  XI  century,  2. 

Erquinvillers,  EgKse,  251.* 

Ervy,  Eglise,  404.* 

Esches,  EgKse,  250.* 

Espaubourg,  251.* 


Essay,  ChapeKe  du  Chateau,  414.* 

Essuiles,  EgKse,  251.* 

Estrees-St.-Denis,  EgKse,  22.* 

Estrepagny,  EgKse,  357.* 

Etampes,  Notre  Dame,  215;  *  St.  Basile,  216;* 

St.  Gilles,  216;  *  St.  Martin,  215.* 
Eterville,  EgKse,  361.* 
Etival-en-Chamie,  Abbaye,  47.* 
Etouy,  Eglise,  251.* 
Etrechy,  Eglise,  357.* 
Eu,  Abbaye    St.    Laurent,    327 ;  *   design   of 

nave,  278. 
Eve,  symbol  of  the  church,  128. 
Evrecy,  EgKse,  358.* 
Evreux,  Eglise  Cathedrale  Notre  Dame,  319;  * 

nave  chapels,  279. 

Fafade,  design  of  in  Berry,  11;  Gothic,  281 
seq.;  Norman  Gothic,  288;  treatment  of  in 
the  XII  century,  95. 

Falaise,  EgKse  de  Guilray,  deviated  axis,  140; 
Ste.  Trinite,  397.* 

Falvj',  EgKse,  250.* 

Farges,  Eglise,  37.* 

Fauna,  flamboyant,  385  seq.;  Gothic,  293. 

Faverdines,  Eglise,  353.* 

Fay-St.-Quentki,  St.-Laurent,  240.* 

Fecamp,  Abbaye,  328;  *  St.  Etienne.  408.* 

Ferrieres,  EgKse,  336.* 

FeucheroUes,  EgKse,  339.* 

Fieffes,  EgKse,  241.* 

Fifteenth  century,  bigotry,  367;  causes  of 
increased  building  activity,  368;  economic 
exhaustion,  366;  poKtical  conditions,  366; 
revival  of  building  activity,  365. 

Filain,  Ste.  Berthe,  20.* 

Fitz-James,  EgKse,  246.* 

Flamboyant,  375.t 

Flamboyant  architecture,  375;  f  appreciation 
of,  369;  archaistic  tendencies,  384;  com- 
pared with  Gothic,  368;  death  of,  389; 
decadence  of,  372  seq.;  a  decorative  art, 
373;  design  in  the  XVI  century,  373;  not 
indigenous  in  France,  365;  origins  of,  363; 
spirit  of  eclecticism,  384;  in  the  XV  cen- 
tury, 369;  m  the  XVI  century,  370. 

Fla\-igny,  EgKse,  34.* 

Fleury,  Eglise,  359.* 

Flora,   flamboyant,   385   seq.;  naturaUstic  in 

■    the  Gothic  period,  292. 

Flowing  architecture  of  England,  365. 

Flying  buttress,  appKed  to  spires,  378;  con- 
cealed in  the  second  phase  of  the  transition. 


487 


GENERAL   INDEX 


54;  concealed,  introduced  into  the  He  de 
France  from  Normandy,  86;  continuous 
flights,  275;  development  of,  93;  develop- 
ment in  the  XIII  century,  273  seq.;  double 
flights,  275;  earliest  examples  of,  91;  evo- 
lution of,  91;  gabled,  93;  in  the  XII  cen- 
tury, 92;  ogeed  in  flamboyant  period,  377; 
in  Nonnan  Gothic,  290;  pinnacles  added, 
274;  of  two  struts,  273. 

Follain\-ille,  Eglise,  243  * 

Folle^-ille,  Eghse,  406.* 

Fontainebleau,  Palais,  371. 

Fontaine-Guerard,  Abbaye,  345.* 

Fontaine-sur-Somme,  figlise,  400.* 

Fontenay-Torcy,  Eghse,  250.* 

Fontenoy,  St.  Remi,  223.* 

Fonte\Tault,  order  of,  175. 

Forest-l'Abbaye,  Chapelle,  243.* 

Formigny,  Chapelle  St.  Louis-du-Val-de-For- 
migny,  414.* 

Fortified  churches,  290. 

Foucheres,  Eghse,  40.* 

Foulangues,  St.  Denis,  238.* 

Fourneaux,  362.* 

Four-storied  designs  in  the  He  de  France,  96. 

Fourteenth  century,  decadence  of  learning, 
262;  economic  decline,  264,  265;  relaxa- 
tion of  building  acti\-ity,  263;  superstition, 
262. 

Framicourt,  Eghse,  416.* 

Francastel,  Eglise,  243.* 

Franche\ille,  Eglise,  362.* 

Franciscans,  176. 

Fransart,  Eglise,  246.* 

FrenouviUe,  Eglise,  361.* 

Frescoes,  history  of,  105. 

Fresnay-le-Vicomte,  Notre  Dame,  34.* 

Fresnay-sur-Sarthe,  Notre  Dame,  27.* 

Fresnoy-en-Thelle,  251.* 

Frettemeule,  Eghse,  362.* 

Frocourt,  Eglise,  250.* 

Frouville,  Eglise,  239.* 

Fussy,  Eglise,  48.* 

Gables,  engaged,  297;  false,  297;  open-work, 
297;    in  transitional  period,  101. 

Gabriel,  135. 

Gaillon,  Eghse,  246.* 

Gallardon,  Eghse,  225.* 

Galleries  of  the  kings,  132,t  134,  283;  repre- 
sent kings  of  Judah,  132. 

Gargoyle,  287;  t  flamboyant,  386;  Gothic, 
not  symbohc,  124. 


Garigny,  Eglise,  35.* 

Gassicourt,  Eghse,  234.* 

Gefosse,  Eghse,  355.* 

Genouilly,  Eglise,  220,*  111.  154;  Prieure  de 
Gramout-Fort-Blanche,  42.* 

Geometric  ornament,  in  transitional  period, 
102. 

Geometry,  131. 

Germigny,  Eghse,  28.* 

Gideon,  synibohsm  of,  126. 

Girardon,  Eglise,  46.* 

Gisors,  St.  Ger%'ais  et  St.  Protais,  333.* 

Glennes,  St.  Georges,  223.* 

Goderville,  Eglise,  415.* 

Gonesse,  Eghse,  332.* 

Gorges,  Eglise,  355.* 

Gothic,  50.t 

Gothic  architecture,  alphabet,  255;  beauty  of 
design,  255;  culmination  of,  256;  esthetic 
qualities  of,  253;  failure  of,  254;  geograph- 
ical boundaries  of,  179. 

Goumay,  St.  Hildevert,  327.* 

Gra^ay,  St.  Martin,  42.* 

Grammar,  131. 

Grand  Andelj',  Notre  Dame,  335.* 

Grandmont,  order  of,  175. 

Grand-Selve,  Chapelle  des  Templiers,  356.* 

Granville,  Eglise,  412.* 

Greez-sur-Roc,  Notre  Dame,  416;  *  choir, 
372;  St.  Pierre,  408.* 

Gregorian  Reform  m  France,  3. 

Gritfe,  beauty  of,  99;  in  the  He  de  France  in 
the  XI  century,  13;  in  the  He  de  France  in 
the  Xn  century,  59;  in  the  transitional 
period,  99;  in  the  Gothic  period,  295; 
structural  function  of,  99. 

Groin  vault,  in  the  He  de  France  in  the  XI 
century,  12;  in  the  He  de  France  in  the 
XII  centurj',  61. 

Groizes,  Eglise,  47.* 

Groslay,  Eghse,  343.* 

Grotesques,  flamboyant,  386,  Gothic,  293  seq.; 

not  symbohc,  124. 
Gron,  Eghse,  415.* 
Guerbigny,  Eglise,  361.* 
Guignecourt,  251.* 
Guild,  7;  t  origin  of  in  the  XI  century,  7. 

Half-domes,  ribbed,  in  the  He  de  France,  78. 
Halo,  133;  t  significance  of,  133;  with  Greek 

cross,  133. 
Hambye,  St.  Pierre,  415.* 
Hangest-en-Santerre,  Eghse,  242.* 


48S 


GENERAL   INDEX 


Hangest-sur-Somme,  figlise,  245.* 

Harcelaine,  figlise,  362.* 

Harcoiirt,  St.  Ouen,  352.* 

Hardricourt,  Eglise,  240.* 

Harfleur,  St.  Martin,  398.* 

Hattenville,  Eglise,  410.* 

Haute-Chapelle,  EgKse,  360.* 

Hautevesne,  St.  Remi,  242.* 

Haymo,  letter  of,  151  seq. 

Hebecourt,  St.  Come  et  St.  Damien,  357.* 

Heresy  in  the  XII  century,  146;  in  the  XIII 

century,  257. 
Herchies,  fighse,  248.* 
Hermes,  Eglise,  245.* 
Herry,  Abbaye  de  Chalivoy,  48.* 
Heriy,  Eglise,  358.* 
Heurtevent,  Eglise,  413.* 
Hierarchal  rank,  rule  of,  134. 
Hombleux,  Eglise,  251.* 
Honfleur,  St.  Etienne,    406;  *    St.    Leonard, 

406.* 
Hospitalers,  176. 
Hugh,  letter  of,  156. 
Humbercourt,  Eglise,  404.* 
Humbhgny,  Eglise,  352.* 
Hundred  Years'  War,  263,  264;  close  of,  369; 

relation  to  Gothic  architecture,  265. 
Hunters,  symbolism  of,  130. 

Iconography,  115;  f  in  the  XII-XV  centuries, 
115  seq.;  scholastic  not  didactic  in  char- 
acter, 117  seq. 

Ids-St.-Roch,  Eghse,  343.* 

Ignol,  Eglise,  39.* 

Ile-Aumont,  St.  Pierre  et  St.  Paul,  39.* 

Illeville,  EgUse,  354.* 

Imbleville,  Eghse,  413.* 

IncUnato  capite,  139.t 

Ineuil,  Eglise,  29.* 

Infreville,  Eghse,  413.* 

Intellectual  revival  of  the  XI  century,  6. 

Intercommunication  in  the  XI  century,  6. 

Interpenetration,  364;  t  at  St.  Satur,  364. 

Irregularities  in  medieval  buildings,  142. 

Isaac,  symbohsm  of,  129. 

Isigny,  Eglise,  358.* 

ItteviUe,  St.  Gernjain,  348.* 

Ivoy-le-Pre,  Eghse,  358.* 

Ivry-la-Bataille,  Abbaye,  361;*  St.  Martin, 
409.* 

Jalognes,  Eglise,  49.* 
Jars,  Eghse,  408.* 


Jaux,  Eghse,  251.* 
Javernant,  Eglise,  407.* 
Jeanne  d'Arc,  366. 
Jesse  tree,  132.t 
Jews,  attributes,  133. 
John,  symbol  of  the  Synagogue,  129. 
Jonah,  symbolism  of,  129. 
Joseph,  symbol  of  Christ,  126. 
Jouaignes,  St.  Pierre,  19.* 
Jouy-le-Moustier,  Eghse,  233.* 
Jouy-le-Comte,  EgUse,  246,*  281. 
Jucoville,  ChapeUe,  414.* 
Jumieges,  Abbaye,  56. 
Jussy,  Eghse,  36.* 
Jussy-le-Chaudrier,  Eghse,  354.* 
Juvigny,  Eglise,  221.* 
Juvigny-sous-Andaine,  362.* 
Juziers,  Eghse,  220.* 

Keystone,  Gothic,  383. 

King,  attitude  towards  reform  in  the  XI  cen- 
tury, 3. 

La  Bonneville,  Eglise,  411.* 

La  Bruyere,  Eghse,  247.* 

Lace-work,  flamboyant,  374  seq. 

La  Celle,  ChapeUe  St.  Sylvain,  405 ;  *  Eghse, 
24;  *  Prieure,  344.* 

La  Celle-Conde,  Eglise  de  Conde,  33;  *  Eglise 
de  la  Celle,  33.* 

La  Challerie,  ChapeUe,  361.* 

La  Chapelle-d'Angillon,  Eghse,  410.* 

La  Chapelle-Hugon,  Eghse,  35.* 

La  ChapeUe-St.-Ursin,  Eghse,  46.* 

La  Croix,  Eghse,  19.* 

Laffaux,  Notre  Dame,  220.* 

La  Ferte-Aleps,  Eglise,  341.* 

La  Ferte-Bernard,  Notre  Dame,  396.* 

La  Fleche,  St.  Thomas,  36.* 

Lagny,  Abbaye  St.  Pierre,  341.* 

La  Guerche,  Eghse  du  GraNner,  44.* 

Laigle,  St.  Jean,  343;  *  St.  Martin,  343.* 

Laines-aux-Bois,  Eghse,  403.* 

Lancet,  267.t 

Lande  d'Airon,  Eghse,  415.* 

Langrune,  Eglise,  344.* 

Lantan,  Eghse,  40.* 

Lanterns,  in  the  He  de  France,  86;  in  Nor- 
man Gothic,  290. 

Laon,  Eghse  Cathedrale  Notre  Dame,  314;  * 
111.  217,  111.  222,  111.  227,  El.  248;  chapel  of 
the  Baptismal  Fonts,  266;  cloisters,  290; 
fa9ade,   284;  piers,   270;  plan,   281;  spires. 


489 


GENERAL   INDEX 


254;  Chapelle   des   Terapliers,    215,*^  176: 

commune,     162:    confederation,    167:    St. 

Martin,    215;*    flying    buttresses,    92:  St. 

Martin-au-Parvis,  215.* 
Lapan,  figlise,  39.* 
La  Perche,  Eglise,  353.* 
La  Poupeliere,  Chapelle  du  Chateau,  361.* 
Larchant,  Eglise,  352.* 
Largny,  St.  Denis,  225;  *  chevet  vault,  79. 
Last  Judgment,  Gotliic  sculptures  of,  135. 
La  Luze,  Egli.se,  415.* 
Latilly,  St.  Laurent,  229.* 
Launa^',  Eglise,  361.* 
Lavare,  EgUse,  36.* 
Laverdines,  Eglise,  360.* 
Lazenay,  Eghse,  38.* 

Le  Chatelet,  Ancicnne  Eglise  Abbatiale,  32.* 
Le  Chatelet,  Chapelle  St.  Martial,  32.* 
Lcglantiers,    Chapelle   dite   du   St.   Sauveur- 

dans-le-Cimeticrc,  250.* 
Le  Grippon,  Chapelle,  416.* 
Le  Mans,  Ancienne  abbaye  St.  Julien,  see  Notre 

Dame-du-Pre:  Cathedral,  313,*  111.  221,  111. 

247;  flying  buttresses,  276;   master  builder 

Jean,  183;  pjTamidal  section  of  choir,  279: 

commune,  161:  Notre  Dame-du-Pre,  29.* 
Le  MeiL\,  Eglise,  251.* 
Le  Pa\-illon,  Egli.sc,  37.* 
Lepine,  St.  Barthelemy,  409.* 
Le-Plessis-Ste.-Opportune,  Eglise,  360.* 
Lere,  Notre  Dame,  40;  *  St.  Martin,  40.* 
Les  Noes,  Eglise,  407.* 
Les  Ponts,  Eglise,  361.* 
Lessay-Lochy,  St.  Hilaire,  34.* 
Le  VeuiUin,  Eglise,  413.* 
Le  Trouquoy,  Eglise,  17.* 
Lhuys,  Eglise,  231.* 
Liesse,  Eglise,  353.* 
Lieusaint,  Eghse,  351.* 
Light,  267.t 
Ligny,  Eglise,  356.* 
Lillebonne,  Eglise,  408.* 
LimeiLx,  Eghse,  32.* 
Linay,  Eghse,  245.* 
Linieres,  EgUse,  33.* 
Lion,  sjTnbolism  of,  129,  130. 
Lisieux,  Eghse  Cathedrale  St.  Pierre,  318;  * 

piers,  269;  quadripartite  vaults,  268;  tower, 

384;  St.  Jacques,  400.* 
Livarot,  Eghse,  414.* 
Loaded  ribs,  67.t 
Lombard  mfluence  in  the  lie  de  France  in 

the  XU  century,  59;  in  the  XI  century,  12. 


Lombron,  St.  Martin,  47.* 

Longitudinal  rib,  see  wall  rib. 

Longmont,  St.  Etienne,  111.  205. 

Longny,  Eglise,  410.* 

Longpaon,  Eglise,  413.* 

Longpont,  Abbaye,  330.* 

Longues,  Abbaye  Notre  Dame,  355.* 

Loroy,  Abbaye,  342.* 

Louis  VI,  165. 

Louis  VII,  165. 

Louis  L\,  256. 

Louis  XI,  367. 

Louveciennes,  Eghse,  338.* 

Louviers,  Notre  Dame,  335,*  111.  271;  south 

porch,  375. 
Louvigny,  Eghse,  356.* 
Loye,  Eglise,  40.* 
Lucheu.x,  Prieure,  240.* 
Luchy,  Eglise,  22.* 
Lugny-Champagne,  Eglise,  361.* 
Limery,  Eglise,  49.* 
Lury,  Eglise,  359.* 

Macey,  St.  Martin,  38.* 

Maguelonne,  Abbaye,  58. 

Mailly-Chateau,  Eglise,  359.* 

Maisnicres,  Eglise,  245.* 

Maisy,  Egli.se,  359.* 

Maizet,  Eglise,  362.* 

Maizieres,  Eglise,  349.* 

Mamers,  Notre  Dame,  405 ;  *  St.  Nicholas, 

405.* 
Man,  symbolism  of,  130. 
Mantes,  Notre  Dame,  327.* 
Marchezieux,  Eglise,  409.* 
Mareil-Mariy,  Eglise,  338.* 
Mareil-sur-Mauldre,  Eghse,  348.* 
Mareilles,  Eglise,  340.* 
Mareuil,  Eglise,  354,*  17.* 
Mareuil-en-D61e,  St.  Gennain,  232.* 
Mareuil-le-Port,  Eglise,  232.* 
Marigny,  Eglise,  tunber  roof,  279. 
Marigny-en-Orxois,  Eghse,  235.* 
Marissel,  Eglise,  246.* 
Marisy-St.-Mard,  Eglise,  236.* 
Marizy-Ste.-Gene\ieve,  Eghse,  242.* 
Marmagne,  Abbaj'e  du  Beauvoir,  357.* 
Marolles,  Ste.  GencNieve,  232.* 
Marseilles,  St.  Victor,  58. 
Martaine\nlle,  St.  Pierre,  414.* 
Martigny,  Eglise,  360,*  413.* 
Martinville,  Eglise,  362.* 
Masonic  guild  in  the  XII  century,  191. 


490 


GENERAL   INDEX 


Masonry  in  the  lie  de  France  in  the  XII 
century,  67. 

Massay,  Abbaye  St.  Martin,  218;*  Eglise, 
218.* 

Master  builder,  181 ;  t  designed  the  sculp- 
tures?, 190;  duties  and  education,  185  seq.; 
in  flamboyant  period,  385;  lay,  184;  monks 
in  the  XII  century  ?,  181. 

MauleiTier,  Eghse,  414.* 

Meaux,  Eglise  Cathedrale,  325 ;  *  quadripar- 
tite vaults,  268. 

Mehun,  Notre  Dame,  26.* 

MeiUant,  Eglise,  355.* 

Melchisedek,  symbol  of  Christ,  126. 

Melun,  Notre  Dame,  343.* 

Memours,  St.  Jean-Baptiste,  414.* 

Menetou-Couture,  Abbaye  de  Fontmorigny, 
27;*  Eglise,  27.* 

Menetou-Ratel,  Eghse,  48.* 

Menetreol-sur-Sauldre,  Eglise,  42.* 

Menevillers,  EgKse,  249.* 

Menilles,  Eglise,  410.* 

Mereau,  Eglise,  41.* 

Mergey,  St.  Sulpice,  36.* 

Merlemont,  Chapelle  St.  Arnoult,  245.* 

Meru,  Eglise,  248.* 

Merval,  Eglise,  248.* 

Mery-es-Bois,  Eghse,  41.* 

Mery-sur-Cher,  Eglise,  356.* 

Mesge,  Eghse,  249.* 

Mesnil-Glaise,  362.* 

Mesnil-GuUlaume,  Eglise,  416.* 

Meulan,  Eglise,  416;  *  St.  Nicholas,  251.* 

Meung,  Eghse,  37.* 

Mezieres,  Eglise,  356.* 

Mezy-Moulin,  Eghse,  251.* 

Michery,  Eglise,  347.* 

Middle  Ages,  end  of,  370. 

Mirrors  of  Vincent  of  Beauvais,  119,  131. 

Mognevihe,  Eghse,  223.* 

Moidrez,  Eghse,  362.* 

Moissac,  Abbaye,  rib  vault  of  narthex,  58. 

Molesme,  order  of,  175. 

Monceaux,  251.* 

Moncel,  Abbaye,  342.* 

Monchy-St.-Eloi,  Eghse,  247.* 

Mondrainville,  Eghse,  362.* 

Mont-Argis,  ChapeUe,  362.* 

Montauel,  Eglise,  362.* 

Montceaux,  St.  Syre,  42.* 

Montebourg,  St.  Jacques,  347.* 

Montereau-Faut-Yonne,  Eghse,  344.* 

Montfey,  Eghse,  416.* 


Montfort,  Eglise,  415.* 

Montgueux,  St.  Croix,  404.* 

Mouthieres,  Eglise,  362.* 

Montieramey,  Eglise,  30.* 

Montiers,  Eghse,  251;  *  Notre  Dame,  245.* 

Montigny,  Eglise,  32,*  416;  *  St.  Jacques  et 
St.  Girbold,  358.* 

Montigny-Lengrain,  Eghse,  235.* 

Montlevon,  St.  Martin,  i8.* 

Montlouis,  Eghse,  42.* 

Montmille,  St.  Maxien,  18.* 

Mont-Notre-Dame,  Eghse  CoUegiale,  336.* 

Mont-Rond,  see  St.  Amand. 

Monts,  Eglise,  361.* 

Mt.-St.-Michel,  Abbaye,  Cloister,  96;  mo- 
nastic buildings,  291. 

Montsort,  Eglise,  414.* 

Montreal,  Eglise,  47.* 

Montrelet,  Eglise,  249.* 

Montreuil,  St.  Pierre,  348.* 

Moret,  Eglise,  345.* 

Morienval,  Abbaye  Notre  Dame,  13,*  Dl. 
155,  Ih.  156,  Ih.  164,  lU.  186,  III.  208; 
ambulatory,  69;  cylindrical  piers,  88;  date 
of  ambulatory,  53,  69;  rib  vaults  not  domed, 
57;  ribbed  half-dome,  78;  transverse  ribs 
of  ambulatory,  66. 

Morigny,  Eghse  Abbatiale,  240.* 

Morlac,  Eghse,  356;  *  Chapelle  de  Souages, 
356.* 

Momay-Berry,  Eghse,  44.* 

Momay-sur-Alher,  Eghse,  46.* 

Morognes,  Eghse,  350.* 

Mortagne,  Eglise,  401;*  Eghse  de  I'Hopital, 
360.* 

Mortain,  Eglise,  346.* 

Morteaux,  Eglise,  362.* 

Mosles,  St.  Eustache,  356.* 

Motteville-les-deux-Clochers,  Eghse,  360.* 

Mouldings,  continuous,  363,  381;  disappear- 
ing, 380,t  381;  interpenetrating,  380,t  381; 
prismatic,  363,  364;  wavy,  382.t 

INIoulineaux,  Eglise,  359.* 

Mouhns-sur-Yevres,  Eghse,  33.* 

Moussey,  St.  Martin,  30.* 

Moutiers-en-Auge,  Two  Churches,  362.* 

Moyenneville,  251.* 

Mural  painting,  flamboyant,  386;  Gothic, 
297;  transitional,  105;  in  the  XII-XV  cen- 
turies, 106. 

Music,  131. 

Mussy,  Eghse,  353.* 

Mystic  significance  of  Gothic  imagery,  121. 


491 


GENERAL    INDEX 


Namps-au-Bal,  figlise,  233.*  «■ 

Nangis,  St.  Martin,  337.* 

Nanteuil-Xotre-Dame,  Eglise,  237.* 

Naturalistic  ornament,  supplants  the  Lom- 
bard-Byzantinesque stj'le  in  the  He  de 
France,  104;  in  the  transitional  period,  103. 

Nerondes,  figlise,  41.* 

Nesles,  Abbaye,  248:*  figUse,  339.* 

Neubourg,  Chapelle  du  Chateau,  409.* 

Neufehatel,  figlise,  semicircular  transept-end, 
95. 

NeuhTi'-sur-Aronde,  251.* 

Neuilly,  figlise,  43.* 

Neuilly-en-Dun.  figUse,  30.* 

Neuilly-le-:Malherbe,  figlise,  360.* 

Neuilly-sur-JIarne,  St.  Baudile,  337.* 

Neury-Deux-Clochers,  figlise,  46.* 

Neuville-Ferrieres,  figlise,  359.* 

NemTC-Lyre,  figlise,  360.* 

Neuxy-le-Barrois,  41.* 

Neuvj'-Sautour,  figlise,  411.* 

Neu\'y-sur-Barenjon,  Eglise,  354.* 

Niche,  flamboyant,  375,  388. 

Noel-St.-:Martin,  figlise,  16. 

Nogent-en-Othe,  Notre  Dame,  411.* 

Nogcnt-les-Vierges,  figlise,  248.* 

Nogent-sur-Marne,  St.  Satuniin,  343.* 

Nohant-en-Gout,  figlise,  48.* 

Nohant-en-Gra(;^y,  figlise,  37.* 

Nointel,  figlise,  250.* 

Noirlac,  Abbaye,  360.* 

Nonancourt.  St.  Martin,  398.* 

Normal,  91.t 

Norman  Gotliic,  characteristics  of,  288  seq.; 
fohage  of  capitals  omitted,  295. 

Norman  influence  in  the  Le  de  France,  12, 
86. 

Norman\nlle,  figlise,  352,*  414.* 

Noron,  figlise,  357;*  Prieure,  357;*  Ste. 
Catherine,  357.* 

Norrey,  figlise,  334.* 

Noriille,  Eghse,  415.* 

Notre-Dame-du-Touchet,  figlise,  412.* 

Nou\Ton-le-Vineux,  Eglise,  237.* 

Nou^Ton-Vingre,  Notre  Dame,  231.* 

Noyon,  figlise  Cathedrale  Notre  Dame,  201,* 
il.  176,  111.  180,  111.  204,  111.  210,  HI.  211, 
HI.  252:  capital  of  nave,  104;  chapter- 
house, 291;  cloisters,  290;  fa9ade,  284; 
flying  buttresses,  92:  proiiles  of  archivolts, 
100;  semicircular  transept-ends,  95;  sys- 
tem, 89;  western  transept,  95:  commune, 
162:  strife  of  canons  and  bourgeois,  166. 


Nozieres,  figlise,  44.* 

Numbers,  mystic  significance  of,  124. 

Nut,  symbolism  of,  122. 

Octopartite  vault,  88.t 

Oti'ran\-ille,  figlise,  412.* 

Ogee  arch,  364  note;  f  development  of  in  the 

flamboyant  period,  374;  English  origin  of, 

364. 
Oise,  transitional  architecture  of,  55. 
Oisemont,  Doyenne,  245.* 
Oizon,  figlise,  45.* 
Omon\-ille-la-Rogne,  fighse,  350.* 
Open-work,  flamboyant,  374  seq. 
Orbais,  Abbaye,  330.* 
Orbec,  Chapelle  de  I'Hotel-Dieu,  415.* 
Orbec,  fighse,  415.* 
Orcenais,  figlise,  44.* 
Orgeval,  fighse,  231.* 
Orleans,    Cathedral,    396;*    commime,    165; 

Notre  Dame-du-Chemin,  397.* 
Ornament,   Gothic,   291   seq.;  in   Berry,   10; 

transitional,  97. 
Orrouy,  St.  Remi,  244.* 
Or\'al,  fighse,  37.* 
Orville,  figlise,  21.* 
Osmery,  figlise,  35.* 
Oudeuil,  figlise,  247.* 
OuiUy-le-Basset,  362.* 
Oulchy-la-Ville,  St.  Pierre,  235.* 
Oulchy-le-Chateau,  Notre  Dame,  17.* 
Ourouer,  fighse,  33.* 
Oxford,  Christ  Church,  383. 

Pacy,  fighse,  333.* 

Paisy-Cosdon,  figlise,  46.* 

Panon,  figlise,  49.* 

Papacy,  power  of  in  the  XI  century,  4. 

Paraclet,  order  of,  175. 

Parapet,  287. t 

Parassy,  fighse,  43;*  Prieure  de  Michavant, 
415.* 

Paris,  Abbaye  Ste.  Gene%'ieve,  308:  figlise 
Cathedrale  Notre  Dame.  305,*  HI.  223,  LI. 
226,  HI.  227,  HI.  241,  HI.  258;  ambulatory 
vault,  276;  designed  with  flying  buttresses, 
92;  fa(?ade,  281;  flying  buttresses  (original), 
275;  nave  chapels,  279:  piers,  270,  271; 
plan,  281;  sexpartite  vaults,  86;  side  aisles  of 
transepts,  279:  St.  Aubin,  214:*  Ste.  Cha- 
pelle, 307:*  restoration  of  Viollet-le-Duc, 
298:  St.  fitienne-du-:Mont,  390,*  111.  283: 
nave,  388;  vaults,  383:  St.  Eustache,  391,* 


492 


GENERAL   INDEX 


371:  St.  Germain-l'Auxerrois,  307:*  St. 
Germain-des-Pres,  213,*  111.  185;  flying 
buttresses,  92;  system,  90:  St.  Gervais  et 
St.  Protais,  391 :  *  St.  Jacques-la-Boucberie, 
391:*  St.  Julien-le-Pauvre,  307:*  St. 
Laurent,  391 :  *  St.  Leu  et  St.  Gilles,  308:  * 
St.  Martin-des-Cliamps,  214,*  HI.  172,  111. 
261,  HI.  262;  vaults  of  Lady  Chapel,  78: 
St.  Medard,  391:*  St.  Mery,  391:*  St. 
NichoIas-des-Champs,  391 :  *  St.  Pierre-de- 
Montmartre,  214:  *  St.  Severin,  307:  *  Uni- 
versity of,  259. 

Parnay,  Eglise,  408.* 

Passage-ways,  interior,  86. 

Passais-!a-Conception,  Eglise,  415.* 

Payns,  EgUse,  355.* 

Peace  of  God,  6. 

Peasants,  condition  of  in  the  XI  century,  7. 

Pecheseul,  Chapelle  St.  Michel-d'Avoise,  414.* 

Pelican,  symbohsm  of,  130. 

Pendants,  383. 

Pendentives  in  Berry,  10. 

Penetrations,  in  England,  381. 

People  and  Church  in  XII  century,  160. 

Pernant,  St.  Leger,  230.* 

Perrieres,  Eghse,  361.* 

Perseigne,  Abbaye,  352.* 

Petit-Andely,  St.  Sauveur,  349.* 

Pliihppe-Auguste,  165. 

Phihppe-le-Bel,  financial  policy,  264. 

Philosophy,  iconography  of,  131. 

Picardy,  transitional  architecture  of,  55. 

Picaux-ille,  Eglise,  357,*  290. 

Picquigny,  Eghse  du  Chateau,  247.* 

Pierrefitte,  Eghse,  361.* 

Piers,  compound  of  the  lie  de  France,  1050- 
1100,  11. 

Piers,  cylindrical  in  XV  century,  381;  in  the 
Gothic  era,  269. 

Pilaster  strips  in  Berry,  10. 

Pipardiere,  Chapelle,  411.* 

Pirmil,  Eghse,  47.* 

Pithiviers,  St.  Georges,  37;  *  St.  Salomon, 
37.* 

Plainville,  Eghse,  410.* 

Plans  of  Gothic  Churches,  279. 

Pleinpied,  Abbaye,  25;  *  Eghse  des  Givaudins, 
25.* 

Plessis-Grimoult,  Abbaye,  chapter-house,  291. 

Plessis-Ie-Charmant,  Eglise,  21.* 

Plinths,  Gothic,  295. 

Poilley,  Eghse,  353.* 

Pointed   arch,   appUed   to   main   arcade,   68; 


apphed  to  rib  vaults  to  level  crowns,  65; 
applied  to  windows  and  doorways,  67;  his- 
tory of,  63;  in  connection  with  barrel  vaults, 
63;  in  connection  with  rib  vaults,  63;  intro- 
duction into  the  He  de  Prance,  63;  struc- 
tural advantages  of,  63 ;  used  in  Berry  earher 
than  in  the  He  de  France,  10. 

Poissy,  St.  Louis,  212;  *  cyhndrical  piers,  88. 

Poitiers,  commune,  165. 

Polychromy,  Gotliic,  297. 

Ponce,  Eghse,  34.* 

Pontaubert,  Eglise,  350.* 

Pont-Audemer,  Chapelle  de  I'Hotel-Dieu, 
401;*  St.  Ouen,  401.* 

Pont-de-I'Arche,  Abbaye  Bon-Port,  352;  *  St. 
Vigor,  399.* 

Pont-I'Eveque,  Eglise,  pendants,  384;  St. 
Michel,  407.* 

Pontoise,  St.  Maclou,  211,*  HI.  166;  ambu- 
latory vaults,  73;  cyhndrical  piers,  88. 

Pontoise,  St.  Martin,  order  of,  175. 

Pont-Remy,  Eglise,  249.* 

Pont-St.-Mard,  Eglise,  234.* 

Pont-Ste.-Marie,  Eglise  de  I'Assomption,  404.* 

Ponts-sous-Avranches,  Eghse,  409.* 

Popular  character  of  medieval  cathedral?, 
150. 

Porches,  Norman  flamboyant,  379. 

Portal,  Gothic,  284. 

Pouzel,  Notre  Dame,  248.* 

Preaux,  St.  Sever,  360.* 

Prely-le-Chetif,  Eghse,  44.* 

Premontre,  order  of,  177. 

Presles,  Eglise,  18.* 

Preuilly,  Abbaye,  352;  *  Eghse,  41.* 

Preveranges,  Eghse,  355.* 

Prey,  Eghse,  415.* 

Primelles,  Eghse,  29.* 

Profiles,  flamboyant,  377,  385;  Gothic,  294 
seq.,  HI.  263;  Norman  Gotliic,  290;  transi- 
tional, 97. 

Prouleroy,  Eglise,  250.* 

Provins,  Notre  Dame-du-Val,  351;*  St. 
Ayoul,  218;*  Ste.  Croix,  351,*  HI.  287; 
spiral  paneling,  386;  St.  Quiriace,  218,*  111. 
178. 

Puiseaux,  Eghse,  339.* 

Pyramidal  section,  278  seq.t 

Quadripartite   vault,   adopted   in  the   Gothic 

period,  268. 
Quesmy,  Eghse,  250.* 
Quesnay,  Eghse,  361.* 


493 


GENERAL   INDEX 


Quetteliou,  St.  Vigor,  342.*  ^ 

Quimperle,  Ste.  Croix,  58. 

Eamburelles-le-Bosquet,  Eglise,  414.* 

Rampillon,  Eglise,  348.* 

Raphael,  135. 

Raymond,  Eglise,  362.* 

Rayonnant,  267.t 

Rayonnant  architecture,  characteristics  of, 
262. 

"Refinements"  of  Prof.  Goodyear,  142. 

Reformation  foreshadowed  in  the  XV  ccii- 
tm-y,  367;  influence  on  architecture,  371. 

Reigny,  figlise,  44.* 

Relics,  peddled  in  the  XII  century,  171. 

Reliefs,  Gothic,  302. 

Rehgious  enthusiasm  in  the  XI  century,  5; 
in  the  XII  centurj-,  151;  not  a  stimulus  to 
arcliitecture,  155  seq. 

Remalard,  Eglise,  362.* 

Remerangles,  Eglise,  251.* 

Reims,  fighse  Bletropohtaine  Notre  Dame, 
308,*  111.  224,  111.  230,  111,  237,  111.  251,  111. 
268;  capitals,  272;  conical  aisle  roofs,  278; 
fafade,  284;  fljing  buttresses,  274;  flying 
buttresses  of  chevet,  275;  naturalistic  foli- 
age, 293;  parapets,  287;  pinnacles,  274; 
plan,  281;  sculptures  of  fafade,  303;  statues 
of  the  Visitation,  303:  commune,  164:  St. 
Jacques,  209:*  St.  Remi,  206,*  111.  183; 
ambulatory  vaults,  276;  clearstory  and  tri- 
forium  united,  96;  flying  buttresses,  92; 
quadripartite  vaults,  268;  side  aisles  of 
transepts,  279  note;  system,  90. 

Renaissance  architecture,  introduced  into 
France,  372. 

Renaissance  chateaux,  371,  388. 

Renaissance,  in  France,  371;  in  Italy,  367. 

Renaissance  of  tlie  XII  century,  148. 

Ressons-le-Long,  Eglise,  230.* 

Retheuil.  St.  Aubin,  18.* 

Rhetoric,  131. 

Rhuis,  Eghse,  15,*  HI.  157,  III.  158;  rib 
vaults,  56;  rib  vaults  not  domed,  57. 

Rians,  EgUse,  39.* 

Ribbon  moulding,  13. f 

Rib,  profiles  of  in  Gothic  period,  296. 

Rib  vault,  always  shghtly  domed  in  the  He 
de  France,  61;  constructed  in  Lombard 
manner  in  the  He  de  France,  59;  crowns  all 
brought  to  the  same  level,  74;  domed  in 
the  earliest  examples  in  the  He  de  France, 
57;  earliest  examples  in  the  Ee  de  France, 


56;  efforts  to  avoid  excessive  doming,  64, 
65,  66,  67;  erected  over  nave,  76  seq.;  first 
appearance  in  the  He  de  France,  52,  55,  56 
seq.;  known  throughout  France  in  the  first 
quarter  of  the  XII  century,  58;  introduced 
into  Berry  in  the  XII  century,  18;  introduced 
into  the  He  de  France  from  Lombardy,  58; 
object  of  doming,  61;  on  a  curved  oblong 
plan,  64,  111.  160;  significance  of  in  history 
of  transitional  arcliitecture,  54;  with  and 
without  wall  ribs  in  the  He  de  France  in 
the  XII  century,  60. 

Riccy-Bas,  figlise,  408.* 

Ricey-Haut,  Eglise,  401.* 

Ricey-Haute-Rive,  figlise,  403.* 

Ricquebourg,  figlise,  250.* 

Rieux,  fighse,  248,*  64. 

Rigny-le-Ferron,  St.  Martin,  42.* 

Rinceau,  in  cornices  in  the  transitional  period, 
100. 

Robert  I,  4. 

Robert  de  Mont,  account  of  cart  cult,  159; 
critical  estimate  of,  160. 

Rochy-Conde,  Chapelle  St.  Arnoult,  22.* 

Rocquencourt,  figlise,  250.* 

Rocques,  figlise,  360.* 

Romagny,  figlise,  414.* 

Roped  moulding,  13. 

Rouen,  Abbaye  de  St.  Ouen,  317,*  III.  238: 
Cathedral,  316,*  111.  225,  HI.  269;  design  of 
nave,  278;  fa9ade,  373,  378;  Portail  des 
Libraires,  287;  Letter  of  Hugh,  156;  side 
chapel,  365;  transepts,  fa9ades,  297:  com- 
mune, 166:  St.  Audre-de-la-Porte-aux- 
Febvres,  390:*  St.  Laurent,  390:*  St. 
Maclou,  389,*  HI.  278;  porch,  379:  St. 
Vincent,  390.* 

Rouez,  figlise,  416.* 

Rousseloy,  figlise,  251.* 

Rou\'ille,  Abbaye,  362.* 

Rou\Tes,  figlise,  345.* 

Rose  window,  105;  f  rayonnant,  267;  tracery, 
268. 

Roses,  symbohsm  of,  121. 

Rosnay,  figlise,  33.* 

Rosoy,  fighse,  250;  *  Notre  Dame,  347.* 

Rove,  fighse,  247.* 

Roye-sur-Matz,  figlise,  251.* 

Rozet-St.-Albin,  figlise,  244.* 

Rozoy-en-Brie,  fighse,  251.* 

Rue,  Eglise  du  St.  Esprit,  HI.  286,  386. 

Rue-St.-Pierre,  fighse,  21.* 

RumiUy-les-Vaudes,  fighse,  401.* 


494 


GENERAL   INDEX 


Sable,  Notre  Dame,  41.* 

Sacquenville,  EgUse,  409.* 

Saconin,  Eglise,  244.* 

Sacy-le-Grand,  figlise,  249.* 

Sacy-le-Petit,  Eglise,  250.* 

Sagny,  Eglise,  414.* 

Sagonne,  Eglise,  41.* 

St.-Andre-les-Troyes,  Eglise,  400.* 

St.  Amand,  Chapelle  des  Carmes,  415;* 
Eglise,  33.* 

St.  Ambroix,  Eglise,  409.* 

St.-Antoine-de-Rochefort,  Eglise,  362.* 

St.-Aoustrille-les-Grafay,  Eglise,  28.* 

St.  Arnoult,  Chapelle,  250.* 

St.-Aubin-d'Ecrosville,  409.* 

St.-Aubin-sous-Equerry,  Eglise,  251.* 

St.  Augustine,  rule  of,  177. 

St.  Bagneux,  St.  Herbeland,  337.* 

St.  Baudry,  Eglise,  18.* 

St.-Benoit-sur-Loire,  Abbaye,  22 ;  *  ambula- 
tory, 9. 

St.-Benoit-sur-Seine,  Eglise,  47.* 

St.-Benoit-sur-Vannes,  Eglise,  358.* 

St.  Bernard,  146. 

St.  Bouize,  Eglise,  42.* 

St.  Calais,  Abbaye,  404,*  365;  Notre  Dame, 
403.* 

St.  Caprais,  Eglise,  41.* 

St.-Christophe-le-Chaudry,  Eglise,  41.* 

St.-Christophe-du-Jambet,  Notre  Dame,  27.* 

St.  Clair,  Eglise,  362.* 

St.  Denis,  Abbaj'e,  193,*  111.  169,  111.  191, 
m.  246;  double  ambulatory,  75;  facade, 
95;  glazed  triforium,  278;  historical  sig- 
nificance of,  85;  influence  upon  XII  cen- 
tury architecture,  85;  marks  the  end  of 
monastic  power  over  architecture,  174;  the 
turning-point  in  the  history  of  transitional 
architecture,  52. 

St.  Doulchard,  Eglise,  43.* 

St.-Eloi-de-Gy,  Eglise,  40,*  281. 

St.-Etienne-lez-Pierrefonds,  Eglise,  236.* 

St.-Eugienne,  Chapelle  du  Prieure,  415;* 
Eglise,  415.* 

St.  Evroult,  Prieure,  359.* 

St.  Felix,  EgUse,  251.* 

St.  Fromond,  Prieure,  410.* 

Ste.  Gemme,  Eglise,  26.* 

St.-Georges-de-Poysieux,  Eglise,  33.* 

St.-Georges-sur-la-Pre,  Eglise,  47.* 

St.-Germain-des-Bois,  Chapelle  de  Brou,  39;  * 
EgUse,  38.* 

St.-Germain-Lin9on,  EgUse,  407.* 


St.  Germer,  Abbaye,  210,*  111.  173,  111.  177; 
chevet  vault,  79,  83;  groin  vaults,  62;  tri- 
forium,  266;  western  transept,   95  note. 

St.-Gervais-de-Pontpoint,  Eglise,  250.* 

St.-Gervais-de-Vic,  EgUse,  44.* 

St.  Gilles,  Abbaye,  58;  sculptures,  113; 
EgUse,  359.* 

St.-Guilhem-du-Desert,  Abbaye,  58. 

St.  Hilaire,  Eglise,  38.* 

Ste.-Honorine-du-Fay,  Eglise,  361.* 

Ste.-Honorine-la-Chardonne,  Eglise,  413.* 

St.-Hylaire-de-Gondilly,  Eglise,  46.* 

St.  Janvrin,  EgUse,  38.* 

St.-Jean-aux-Bois,  Abbaye,  342.* 

St.-Jean-de-la-Haise,  Eglise,  362.* 

St.-Jean-du-Corail,  EgUse,  362,*  281. 

St.-JuUen-du-Sault,  EgUse,  353.* 

St.  Julien,  see  Sancey. 

St.-Just-en-Chaussee,  EgUse,  251.* 

St.  Just,  Eglise,  47.* 

St.-Laurent-sur-Mer,  Eglise,  360.* 

St.  Lazare,  EgUse,  241.* 

St.  Leger,  Eglise,  416.* 

St.-Leger-lez-Troyes,  Eglise,  407.* 

St.-Leger-aux-Bois,  Prieure,  16.* 

St.  Leu  d'Esserent,  Abbaye,  205,*  111.  163; 
flying  buttresses,  274 ;  transverse  rib  loaded, 
67. 

St.  L6,  Notre  Dame,  329.* 

St.  Loup,  EgUse,  328.* 

St.-Loup-des-Chaumes,  EgUse,  353.* 

St.-Loup-de-Naud,  Eglise,  217;  *  quadripar- 
tite vaults,  269. 

St.  Lumier,  EgUse,  352.* 

Ste.  Lunaise,  Eglise,  41.* 

St.  Lye,  Eglise,  39.* 

Ste.-Marguerite-de-l'Autel,  Eglise, 
362.* 

St.  Martin,  EgUse,  248.* 

St.-Martm-le-Noeud,  Eglise,  251.* 

St.-Maur-des-Fosses,  St.  Nicholas,  352* 

Ste.  Maure,  Eglise,  409.* 

St.-Michel-de-Volanges,  EgUse,  49.* 

Ste.  Montaine,  EgUse,  45.* 

St.-Nicholas-du-Port,  EgUse,  139. 

St.-Ouen-d'Athez,  EgUse,  362.* 

St.  Palais,  EgUse,  353.* 

St.-Parre-les-Tertres,  St.  Patrocle,  408.* 

St.-Parres-les-Vaudes,  Eglise,  48.* 

St.  Paul,  attributes,  133. 

St.  Paul,  Abbaye,  249;  *  Eglise,  249.* 

St.-Pere-sous-Vezelay,  Eglise,  340.* 

St.  Peter,  attributes,  133. 


495 


GENERAL   INDEX 


St.-Pierre-Canivet,  figlise,  357.* 

St.-Pierre-des-Bois,  Eglise,  45.* 

St.-Pierre-des-Etieux,  Eglise,  43.* 

St.-Pierre-du-Lorouer,  Eglise,  359.* 

St.-Pierre-es-Chanips,  figlise,  251.* 

St.-Pierre-sur-Dives,  Notre  Dame,  151. 

St.  Pouange,  St.  Marc,  411.* 

St.  Quentin,  commune,  161:  figlise  coUegiale, 
329;  *  ambulatory  vaults,  276. 

St.-Quentin-des-Pres,  figlise,  251.* 

St.-Remi-1'Abbaye,  Abbaye,  20.* 

St.-Remy-du-Plaiii,  Eglise,  361.* 

St.  Rimault,  figlise,  251.* 

St.  Riquier,  Abbaye,  331 ;  *  commune,  163. 

St.  Satur,  Abbaye,  326,*  111.  235;  capitals 
omitted,  380;  design  of  system,  273;  pro- 
files, 296;  style,  363. 

St.-Sauveur-Landelin,  figlise,  347.* 

St.-Sauveur-le-Vicomte,  figlise,  344.* 

Ste.  Saviune,  figlise,  401.* 

St.  Sever,  Abbaye,  345.* 

Ste.  Solange,  figlise,  350.* 

Ste.-Suzatnie-sur-Vire,  figlise,  410.* 

St.  Taurin,  Prieure,  243.* 

St.  Thibaud,  Chapelle,  413;  *  figlise,  412.* 

St.-Tliil)aud-de-I5azoches,  Prieure,  20.* 

Ste.  Thorette,  figlise,  351;  *  Prieure,  351.* 

St.-Vaast-tle-I-,ongmont,  figlise,  241.* 

St.-Vaast-les-Mello,  figlise,  243.* 

St.  Valery,  Aljbaye,  410;  *  figlise,  358.* 

St.-Victor-Abbaye,  Abbaye,  360.* 

St.  Victor,  order  of,  177. 

St.-Vincent-des-Pres,  figlise,  49.* 

St.-Vitte-le-Fleuriel,  figlise,  45.* 

St.  Wandrille,  Abbaye,  356.* 

Saintes,  St.  Eutrope,  58. 

Saintines,  St.  Denis,  246.* 

Saligny-le-Vif,  figlise,  45.* 

Sancergues,  figlise,  43.* 

Sancerre,  St.  Denis,  415;  *  St.  Romble,  49.* 

Sancey,  figlise,  415.* 

Santranges,  figlise,  44.* 

Saponay,  Notre  Dame,  233.* 

Sarcelles,  figlise,  347.* 

Sarron,  figlise,  21.* 

Saussaye,  figlise  CoUegiale  St.  Louis,  354.* 

Sa\ngny-en-Sancerre,  figlise,  43.* 

Saiigny-en-Septaine,  figlise,  34.* 

Scholastic  philosophy  reflected  in  imager}'  of 
cathedral,  118. 

Sculpture,  flamboyant,  387  seq.;  Gothic,  301 
seq.;  rayonnant,  303  seq.;  Renaissance, 
388;  school   of   Burgundy,    112;  school   of 


Languedoc,  112;  school  of  Provence,  112; 
school  of  the  XII  century.  111  seq.,  113; 
school  of  the  XIII  century,  300. 

Seez,  figlise  Cathedrale,  324,*  111.  232;  orna- 
ment, 290;  triforium  balustrade,  288;  sys- 
tem, 272. 

Segrie,  Notre  Dame,  351.* 

Senlis,  figlise  Cathedrale,  205,*  111.  181,  111. 
189,  90;  south  transept  end,  375;  spire,  94: 
St.  Frambourg,  331:  *  St.  Pierre,  331:*  St. 
Vincent,  331.* 

Sens,  figlise  Metropolitainc  St.  fitienne,  200,* 
111.  168,  111.  179,  111.  192;  broken  rib  vaults, 
73;  design  of  facade,  95;  system,  89:  com- 
mune, 164:  St.  Jean,  332.* 

Sens-Beau jeu,  figlise,  344.* 

Sept-Vents,  Prieure,  361.* 

Serfs,  condition  of  in  the  XI  century,  7. 

Sergy,  Notre  Dame,  238.* 

Sermaises,  figlise,  348.* 

Servon,  figlise,  415.* 

Sevry,  figlise,  359.* 

Se.\partite  vault,  advantages  and  disadvan- 
tages of,  87;  introduced  into  the  He  de 
France,  77;  in  second  phase  of  transition, 
54 ;  why  borrowed  by  the  royal  school  ?,  86. 

Shafts,  adjustment  of  in  the  Gothic  era,  269; 
adjustment  in  the  XII  centurj',  88  seq.; 
introduced  into  the  lie  de  France,  c.  1075, 
12;  ornamented  with  rings,  102;  rayonnant, 
272,  273;  wall  shafts  not  continued  to 
ground,  271. 

Shafting  in  transitional  period,  102. 

Sidiailles,  Abbaye,  48.* 

Sille,  figlise,  45.* 

Sixteenth  Century,  building  activity,  370. 

Soissonnais,  nave  vaulted  only  at  a  late  date, 
76  note:  transitional  arcliitecture  of,  55. 

Soissons,  figlise  Cathedrale,  322,*  111.  207, 
111.  212,  111.  228,  111.  244;  ambulatory 
vaults,  276;  capitals  in  south  transept,  104; 
interior  design,  277;  piers,  271;  polygonal 
chevet,  277;  semicircular  transept-end,  95; 
side  aisles  of  south  transept,  279:  St.  Jean- 
des-Vignes,  397;  *  cloisters,  290:  St.  Leger, 
21:  *  St.  Medard,  21:  *  St.  Pierre,  231.* 

Solesmes,  Abbaye,  31.* 

Soliers,  Chapelle  Notre  Dame-de-Fours,  415.* 

Somme,  traditional  architecture  of,  55. 

Sommerval,  St.  Martin,  408.* 

Soreng,  figlise,  361.* 

Soulangy,  fighse,  46,*  352.* 

Souterrain,  figlise,  45.* 


496 


GENERAL   INDEX 


Souvegny-sur-Meme,  St.  Martin,  408.* 

Soye,  Eglise,  47.* 

Spiral  paneling,  386.t 

Spire,  constructed  of  open  work  in  the  flam- 
boyant period,  377;  design  of  in  flamboyant 
era,  377  seq.;  design  of  in  the  XII  century, 
94;  evolution  of  in  the  He  de  France,  93; 
flamboyant,  378;  Norman  Gotiiic,  289; 
number  of  in  Gothic  churches,  254. 

Squinches  in  Berry,  10. 

Stained  glass,  flamboyant,  387;  XIV  century, 
299;  XV  century,  300;  influence  upon  de- 
velopment of  architecture,  108;  in  the  XII 
century,  107  seq.;  methods  of  XII  century 
and  modern  times  contrasted,  110;  origins 
of  art,  106;  small  figures  used  in  the  XII 
century,  109;  technique  in  the  XII  cen- 
tury, 109;  thirteenth-century  glass,  298. 

Stereotomy,  in  the  He  de  Prance  in  the  XII 
century,  67. 

Stilting  of  transverse  ribs,  66. 

String-course,  exterior,  profile  in  transitional 
period,  99;  interior,  profile  in  transitional 
period,  99,  100;  profile  in  Gothic  period, 
296;  transitional.  111.  196,  111.  197. 

Strut,  273. t 

Subdray,  EgUse,  44.* 

Subhgny,  figUse,  413.* 

Suger,  85;  as  abbot  of  St.  Denis,  158;  criti- 
cism of  St.  Denis,  252;  the  last  of  the  Bene- 
■  dictine  monks,  174. 

Sury-en-Lere,  Eglise,  408.* 

Sury-en-Vaux,  St.  Etienne,  359.* 

Sury-es-Bois,  Eghse,  412.* 

Symbolism,  of  Gothic  imagery,  121  seq.; 
structure  not  symbohcal,  138. 

Symbols,  in  medieval  iconography,  133. 

Symmetry,  in  medieval  iconography,  125. 

S}aiagogue,  iconographical  representation  of, 
129. 

System,  design  of  in  the  XII  century,  89;  in 
the  Gothic  period,  269  seq.;  in  the  XIV 
century,  272,  273;  transitional  to  flamboy- 
ant, 273. 

Taillefontaine,  Ste.  Vierge,  237,*  barrel  vault 

of  narthex,  62. 
Templars,  architecture  of,  176;  order  of,  176. 
Teurteville-Bocage,  Eghse,  362.* 
Thaumiers,  Eglise,  36.* 
Theniou,  Eglise,  47.* 
Thierval,  Eghse,  335.* 
Thieville,  Eglise,  357.* 


Thirteenth  Century,  hterature  of,  258;  intel- 
lectual character  of,  259. 

Thistles,  symbohsm  of,  121. 

Thorigne,  Eghse,  411.* 

Thury,  Eghse,  251.* 

Tillard,  Eghse,  338.* 

Tille,  Eghse,  21.* 

Tilheres,  Eghse,  403.* 

Tilloy,  Eglise,  416.* 

Tilly,  Eghse,  362.* 

Timber  roofs,  flamboyant,  386;  in  the  XIII 
century,  279. 

Tiron,  order  of,  175. 

Tiverny,  Eghse,  250.* 

Toimere,  St.  Pierre,  403.* 

Torce,  Notre  Dame,  32.* 

Torcy,  Eghse,  239.* 

Torteval,  Prieure,  361.* 

Torvilhers,  St.  Denis,  406.* 

Touchay,  St.  Martin,  406.* 

Toulouse,  St.  Sernin,  10. 

Touques,  St.  Thomas,  412.* 

Tourny,  Eglise,  414.* 

Tourouvre,  St.  Gilles,  416.* 

Tours,  Cathedrale,  180. 

Toury,  Eghse,  361.* 

Tracery,  266;  f  bar,  267;  t  plate,  266;  f  de- 
sign in  Gothic  period,  267;  evolution  of, 
266;  flamboyant,  375,t  376,  377;  flowing, 
364  note;  t  flowing,  Enghsh  origin  of,  364; 
Norman  Gothic,  290;  rayonnant,  267;  t 
Renaissance,  376;  f  structural  purpose  of, 
267. 

Tracy-le-Val,  St.  Eloi,  342. 

Transeptal  absidioles  in  Berry,  10;  in  the 
He  de  France,  12. 

Transept,  in  Berry,  10;  design  of  fafade  in 
Gothic  period,  286;  semicircular,  95;  side 
aisles  added,  279;  western,  95. 

Transitional,  50.t 

Transitional  architecture,  52;  f  periods  of, 
52;  phases  of,  54;  geographical  boundaries 
of,  179;  second  phase,  84;  sub-schools  of, 
55. 

Translay,  Eghse,  362.* 

Transverse  arches  in  the  He  de  France  in  the 
XII  century,  59. 

Transverse  rib,  transitional,  HI.  202,  101, 
stilted,  66;  with  groin  vaults  in  the  XI 
century,  12. 

Treaty  of  Troyes,  366. 

Treloup,  St.  Medard,  240.* 

Treperd,  Eghse,  362.* 


497 


GENER.\L   INDEX 


Treport,  figlise,  402;  *  St.  Jacques,  402.* 

Tresson,  figlise,  407.* 

Trie-la-Ville,  figlise,  245.* 

Triel,  figlise,  342.* 

Triforium,  design  of  in  flamboyant  period, 
385;  double,  96. 

Triforium  galleries,  abandoned  in  the  Gothic 
period,  277;  glazed,  277  seq. 

Troissereux,  Eglise,  251.* 

Trouy,  EgUse,  40.* 

Troyes,  Cathedral,  320,*  111.  277;  fafade,  378: 
St.  Gilles,  404;  *  St.  Jean,  322:  *  Ste.  Mad- 
eleine, 322:*  St.  Nicholas,  404:*  St. 
Nizier,  404:*  St.  Pantaleon,  404:*  St. 
Remi,  404:  *  St.  Urbain,  321,  *  111.  220;  ogee 
arch  in  porch,  364;  porch,  381. 

Truce  of  God,  0. 

Trucy,  Eglise,  247.* 

Trun,  Eglise,  414.* 

Twelfth  century,  economic  conditions  of, 
147;  liistorical  conditions  of,  145;  literary 
acti\'ity,  145;  misery,  148;  political  condi- 
tions, 147;  relations  of  people  and  clergy, 
160  seq.,  renaissance,  258. 

Llly-St.-Georges,  Eglise,  21.* 
Unicorn,  symbolism  of,  130. 
Unity  of  cathedral  imagery,  119. 
Urcel,  Eghse,  248.* 
Ussy,  Eglise,  347.* 
Uzay-le-Venon,  Eglise,  46.* 

Vacognes,  Eglise,  362.* 
Vacquerie,  Eglise,  245.* 
Vailly,  Eglise,  48:*  Notre  Dame,  230,*  111. 

193;  St.  Nicholas,  354.* 
Val-Chretien,  Abbaye,  248.* 
Vahquer\-ille,  Eglise,  354.* 
Vallenay,  Eghse,  45.* 
Valmeray,  Eghse,  361.* 
Valognes,  St.  Malo,  402.* 
Vannes,  Eglise  de  I'Assomption,  40,*  279. 
Vanves,  St.  Remy,  403.* 
Vara\-ille,  Eglise,  361.* 
Vaudes,  Eghse,  352.* 
Vaudieres,  Eglise,  244.* 
Vault,  multiple  rib,  382;  pendant,  383. 
Vaumoise,  St.  Pierre,  239.* 
Vaux-de-Cemay,  Abbaye,  341.* 
Vauxrezis,  St.  Maurice,  234,*  111.  171 ;  ribbed 

half-dome,  78. 
Veaugues,  Eghse,  411.* 
Velennes,  Eghse,  251.* 


Vendeuvre,  Eglise,  410.* 

Venesme,  Eghse,  32.* 

Venice,  S.  Marco,  143. 

Ver,  St.  Remi,  353.* 

Veraux,  Eghse,  37.* 

Verdilly,  Eghse,  243.* 

Vergies,  Eghse,  362.* 

Verneuil-sur-Marne,  St.  Martin,  240.* 

Vernon,  Notre  Dame,  396.* 

Vernouillet,  Eghse,  338.* 

Verron,  Eghse,  361.* 

Vesdun,  Eglise,  45.* 

Vesly,  St.  Pierre,  350.* 

Vetheuil,  Eglise,  416.* 

Veuilly-la-Poterie,  Eglise,  238.* 

Vezelay,  Abbaye  la  Madeleine,  22 ;  *  ambula- 
tory vaults,  74:  commune,   164. 

Vezot,  Eglise,  48.* 

Vic-sur-Aisne,  Eglise,  238.* 

Vices,  iconography  of,  132. 

Viel-.Vcy,  Eglise,  237.* 

Vieils-Maisons,  Ste.  Croix,  242;  *  barrel  vault, 
63. 

Vielles,  Eglise,  361.* 

Vierzon,  Notre  Dame,  37.* 

Vieux-Belleme,  St.  Martin,  415.* 

Vieux-Pont,  St.  Ililaire,  359.* 

Viffort,  Notre  Dame,  241,*  111.  159:  rib 
vaults,  56,  64. 

Vignoux-sous-les-Aix,  Eglise,  413.* 

Villacerf,  St.  Jean-Baptiste,  39.* 

A^illard  de  Honnecourt,  185,  190;  design  for 
the  Cathedral  of  Cambrai,  111.  216. 

Villedieu-les-Baiheul,  362.* 

Villedieu-les-Poeles,  Eghse,  412.* 

Villegenon,  Eghse,  358.* 

Villeloup,  Eglise,  413.* 

Villemaur,  Eglise,  411.* 

ViUemoiron,  Eglise,  415.* 

Villemoyenne,  Eglise,  44.* 

Villenaux,  Eglise,  402;*  vaults,  384;  Eghse 
de  Dival,  357.* 

Villeneuve,  Eglise,  47.* 

ViUeneuve-l'Archeveque,  Eghse,  352.* 

Villeneuve-le-Comte,  Eghse,  346.* 

Villeneuve-St. -Georges,  St.  Georges,  354.* 

Villequiers,  Eghse,  42.* 

Villers-Canivet,  Eglise,  416.* 

Villers-les-Roye,  Eghse,  246.* 

Villers-St.-Paul,  Abbaye,  222.* 

Villers-St.-Sepulcre,  Eghse,  249.* 

Villetertre,  Eghse,  239.* 

Vilhers-le-Sec,  St.  Laurent,  357.* 


498 


GENERAL   INDEX 


Villy-le-Marechal,  figlise,  354.* 

Vimoutiers,  Vieille  Eglise,  413.* 

Vincennes,  Ste.  Chapelle  du  Chateau,  333.* 

Vinon,  Eglise  412.* 

Vire,  Notre  Dame,  341.* 

Virez-sous-Bar,  Eglise,  43.* 

Virgin,  attributes,  133;  sjTnbol  of  the  Church, 

128. 
Virtues,  iconography  of,  132. 
Visine,  EgKse,  413.* 

Vitry,  Eglise,  353;*  ambulatory  vaults,  276. 
Vorges,  Eghse,  359.* 
Vorly,  Eglise,  47.* 
Vomay,  Eglise,  43.* 
Voulton,  Eglise,  338 ;  *  quadripartite  vaults,  269. 


Vouzeron,  Eglise,  48.* 
Vregny,  Eglise,  241.* 
Vulaines,  Eglise,  356.* 

Wacquemoulin,  Eghse,  251.* 

Wall  rib,  60;  t  in  the  He  de  France  in  the  XII 
century,  60;  stilted,  66;  stilted  in  chevet 
vaults,  79;  structural  functions  of,  60,  79. 

Wall  surface  suppressed,  266. 

Warluis,  Eghse,  251.* 

West,  transitional  school  of,  55,  56. 

Westminster  Abbey,  Henry  VII  chapel,  383. 

Wilham  of  Sens,  189. 

Witaineghse,  Eghse,  262.* 


499 


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By  H.  Inigo  Triggs  and  Henry  Tanner,  AA.R.I.B.A. 
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F.  Fletcher,  F.R.I.B.A.  Fifth  Edition,  revised  and  greatly 
enlarged  by  Banister  F.  Fletcher.  With  about  2,000 
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Ages,  and  from  specially  prepared  Drawings  of  Constructive 
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"  A  Dictionary  of  Architecture  and  Building,"  Author  of  "  Euro- 
pean Architecture,"  "  How  to  Judge  Architecture,"  etc. 

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beautiful  Lithographic  Plates,  illustrating  by  means  of  careful 
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B.    T.    BATSFORD, 

PUBLISHER, 
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"  All  lovers  of  our  domestic  architecture  should  buy  this  book." — The  Antiquary, 

(2)  SHROPSHIRE,    HEREFORDSHIRE,    AND    CHESHIRE, 

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difficulty  in  providing  an  attractive  series  of  photographs  in  his  well-produced  and  useful 
volume." — The  Builditig  News. 

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"  This  charming  volume  contains  one  hundred  photographs  of  the  most  beautiful  domestic 
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plaster,  and  half  timber.  With  an  Introduction  and  numerous 
Sketches  of  Interesting  Details  and  Fittings  by  \\K  Curtis 
Green,  Architect,  A.R.I.B.A. 

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and  Sketches  by  Henry  Tanner,  A.R.I.B.A. 

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THE   APPRECIATION    OF   SCULPTURE.     A  Popular  Hand- 
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AVith  64  full-page    Illustrations,  reproduced  in  half-tone,  from 
photographs  of  some  of  the  most  notable  examples  of  the  art. 

B.    T.     BATSFORD, 

PUBLISHER, 

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known  concerning  the  respective  subjects,  the  various  theories 
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"NoI  since  the  puolicalion  of  Owen  Jones' celebrated  'Grammar  of  Ornament'  have  we 
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7 

MR.  LEWIS  F.  DAY'S  HANDBOOKS  of  ORNAMENTAL  DESIGN. 

NATURE  AND  ORNAMENT.  Being  a  new  treatise  founded  on 
the  author's  "  Nature  in  Ornament "  which  is  now  incorporated 
in  it.  By  Lewis  F.  Day.  Two  volumes,  medium  8vo  (g  ins. 
by  6  ins.),  cloth  lettered. 

Vol  I. — Nature  the  Raw  Material  of  Design.  With  special 
reference  to  Plant  Form.  Containing  120  pages  and  350 
Illustrations,  comprising  500  examples,  and  a  fine  series  of 
specially  drawn  plates  of  plant  form  growth,  and  detail. 
Price  ^s.  net. 

"  Thobe  who  are  engaged  in  any  of  the  decor.-itive  crafts  will  find  in.'ipiration  in  Mr.  Day's 
book." — T/ie  Ge^itlcwoinan. 

'•The  book  should  prove  of  great  service  to  all  students  of  design.'' — Jonr7ial  of  the  Roynl 
Society  0/ A  rts. 

Vol.  II. — Ornament  the  finished  Product  of  Nature.  With  very 
numerous  full-page  and  smaller  Illustrations,  either  new  or 
redrawn,  of  the  treatment  of  Natural  form  in  Design  and 
Decoration.     Price  about  is.  6d.  net.  \_In  preparation. 

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LETTERING  IN  ORNAMENT.     An  Enquiry  into  the  Decora- 
tive Use  of  Lettering,  Past,  Present,  and  Possible.    By  Lewis  F. 
D.\Y.     With  200  Illustrations  from  Photographs  and  Drawings. 

Croivn  St'O,  cloth,  y.  6d.  net. 
ALPHABETS,  OLD  AND  NEW.  Containing  200  complete 
Alphabets,  30  Series  of  Numerals,  Numerous  Facsimiles  of 
Ancient  Dates,  &c.  Selected  and  arranged  by  Lewis  F.  Day. 
Preceded  by  a  short  account  of  the  Development  of  the 
Alphabet.  Second  Edition,  Revised  and  Enlarged,  with  many 
further  Examples. 

Crown  8vo,  cloth.     <^s.  net. 
ART   IN   NEEDLEWORK  :    A  Book  about  Embroidery.     By 
Lewis  F.  Day  and  Mary  Buckle.     Third  Edition,  revised, 
containing  80  full-page   Plates,  reproduced  from  photographs, 
and  45  Illustrations  in  the  text. 

Demy  8w,  cloth,  gilt.     75.  dd.  net. 
ENAMELLING.     A   Comparative   Account   of  the  Development 
and  Practice  of  the  Art.     For  the  Use  of  Artists,  Craftsmen, 
Students,    &c.     By   Lewis   F.   Day.     With    115   Illustrations, 
reproduced  from  special  drawings  and  photographs. 

"  Mr.  Lewis  Day's  new  book  on  '  Fnamelling '  is  a  most  valuable  treatise  which  will  interest 
alike  both  those  who  study  and  collect  Enamels,  and  those  who  make  them.  Mr.  Day  sketches 
the  whole  history  of  the  art,  and  discusses  cloisonne,  champlev6,  repousse,  basse  taille,  plique  k 
jour,  and  all  the  other  varieties  of  Enamel  in  his  admirably  lucid  and  suggestive  fasliion.  An 
abundant  array  of  illustrations  shows  fine  and  typicpl  examples  of  each  method." —  The  Tribune. 

B.    T.    BATSFORD, 

PUBLISHER, 

94,  High  Holborn,  London. 


MR.  LEWIS  F.  DAY'S  WOpKS— (continued). 

Demy  8vo,  cloth,  gilt.     ']s.  6if.  net. 

PATTERN  DESIGN.  A  Book  for  Students,  treating  in  a  prac- 
tical way  of  the  Anatomy,  Planning,  and  Evolution  of  Repeated 
Ornament.  Containing  300  pages  of  text,  with  upwards  of  300 
Illustrations,  reproduced  from  drawings  and  from  photographs. 

Demy  ?,vo,  cloth,  gilt.  ?,s.  6d.  net. 
ORNAMENT  AND  ITS  APPLICATION.  A  sequel  to  "Pattern 
Design,"  and  an  Introduction  to  the  Study  of  Design  in  relation 
to  Material,  Tools,  and  ways  of  Workmanship.  Containing  320 
pages,  with  300  Illustrations  of  Decorative  Objects  and  Orna- 
ment, reproduced  from  Photographs  and  Drawings. 

Medium  8w,  cloth,  gilt.     jQi  is.  tiet. 
WINDOWS:   A    BOOK    ABOUT   STAINED  AND  PAINTED 
GLASS.      By   Lewis   F.    Day.      Third    Edition,    thoroughly 
revised  and  enlarged,  containing  new  full-page  Plates,  repro- 
duced from  special  drawings,  and  many  other  Illustrations. 

Many  of  the  plates  in  the  previous  edition  have  been  redone  by  another 
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MOOT  POINTS :  Friendly  disputes  upon  Art  and  Industry  between 
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mental and  very  amusing  Caricatures  of  the  artists  by  Walter 
Crane. 

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Editor  of  Palliser's  "  History  of  Lace."  Containing  upwards 
of  120  pages,  with  nearly  100  Plates,  comprising  over  150 
Historic  Examples,  from  photographs. 

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HERALDRY    AS    ART.     An  Account  of  its   Development  and 

Practice,    chiefly   in   England.      By   George   W.    Eve,    R.E. 

With  300  Illustrations  of  typical  heraldic  design,  old  and  new. 

Summary  of  Contents. — The  Origin,  Uses,  and  Aims  of  Heraldry — 

The  Evolution  of  Shield  Forms — Heraldic  Rules — Animals  and  iMonsters 

— Heraldic   Birds   and   other    Figures — Helm,    Crest,    and    Mantling — 

Armorial  Accessories — Methods  and  Materials — Architectural  Decoration — 

Embroidered  Heraldry — Some  Miscellaneous  Charges — Marks  of  Cadency. 


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A  HANDBOOK  OF  PLANT  FORM  FOR  STUDENTS  OF 
DESIGN.  By  Ernest  E.  Cj.ark,  Art  Master,  Derby  Tech- 
nical College.  Containing  loo  Plates  (size  lo^  ins.  by  yi  ins.), 
illustrating  6i  varieties  of  Plants,  comprising  800  Illustrations. 
With  an  Introductory  Chapter  on  the  Elementary  Principles  of 
Design,  Notes  on  the  Plants,  and  a  Glossary  of  Botanical  Terms. 

"  Such  a  book  has  long  been  needed,  and  the  appearance  of  this  handsome  volume  at  such  a 
moderate  price  will  be  hailed  with  satisfaction  by  students  of  design  everywhere." — Arts  and 
Crajts, 

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DECORATIVE  FLOWER  STUDIES  for  the  use  of  Artists, 
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40  full-page  Plates,  coloured  in  facsimile  of  the  Author's 
original  water-colour  drawings,  accompanied  by  350  Studies 
of  Detail  showing  the  Development  of  the  Plant  in  successive 
stages.     With  Descriptive  Notes. 

"  A  truly  valuable  and  beautiful  book The  coloured  plates  are  nearly  all  good  ; 

they  have  a  certain  spaciousness  of  treatment  that  is  full  of  delicacy  and  freedom  ;  and  we  have 
no  doubt  at  all  that  the  book,  considered  as  a  whole,  is  a  real  gain  to  all  who  take  delight  in  the 
decorative  representation  of  flowers." — The  Studio. 

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DECORATIVE  PLANT  AND  FLOWER  STUDIES.  For  the 
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Author's  original  Water-Colour  Drawings,  with  a  Description 
and  Sketch  of  each  plant,  and  450  Studies  of  growth  and  detail. 

"  Never  before  has  the  essential  character  of  different  plants  received  from  the  point  of  view  of 
their  adaptability  for  decorative  purposes  the  careful  studyand  brilliant  representation  which  they 
receive  at  Miss  Foord's  hands  in  this  exquisitely  printed  and  coloured  book." — Daily  Telegraph. 

"Alike  to  the  lover  of  nature  and  the  student  of  design,  this  volume  will  prove  a  rich  fund  of 
delight  and  instruction." — Tltc  Quccii. 

Croivn  8vo,  cloth,  y.  6d.  net. 
DECORATIVE  BRUSHWORK  AND  ELEMENTARY  DE- 
SIGN. A  Manual  for  the  Use  of  Teachers  and  Students.  By 
Henry  Cadness,  Second  Master  of  the  Municipal  School  of 
Art,  Manchester.  Third  Edition,  revised  and  enlarged,  with 
upwards  of  480  Examples  of  Design. 

"  In  fact,  the  very  grammar  and  technique  of  design  is  cemented  within  the  compass  of  this 
volume,  which  is  likely  to  prove  a  powerful  aid  to  those  who  propose  to  devote  themselves  to 
designing,  an  occupation  in  which  there  is  a  wide  and  ample  field." — The  Queen. 

Large  8w,  cloth.  3^^.  bd.  net. 
SOME  TERMS  COMMONLY  USED  IN  ORNAMENTAL 
DESIGN,  their  Application  Defined  and  Explained.  By 
T.  Erat  Harrison  and  W.  G.  Paulson  Townsend,  Examiners 
in  Design  to  the  Board  of  Education.  With  numerous  Illus- 
trations, including  many  beautiful  examples  of  design. 

B.   T.   BATSrORD, 

PUBLISHER, 

94,  High  Holborr,  London. 


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OLD  SILVERWORK,  CHIEFLY  ENGLISH,  FROM  THE 
XVth  TO  THE  XVIIIth  CENTURIES.  A  series  of  choice 
examples  selected  from  the  unique  loan  collection  exhibited  at 
St.  James's  Court,  London,  in  aid  of  the  funds  of  the  Children's 
Hospital,  supplemented  by  some  further  fine  specimens  from 
the  collections  of  the  Dukes  of  Devonshire  and  Rutland. 
Edited,  with  Historical  and  Descriptive  Notes,  by  J-  St.arkie 
Gardner,  F.S.A.  Containing  121  beautiful  Collotype  Plates 
reproduced  in  the  most  effective  manner,  and  illustrating  some 
of  the  choicest  specimens  of  the  Art  during  the  Stuart,  Queen 
Anne,  and  Georgian  periods. 

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ENGLISH  INTERIOR  WOODWORK  of  the  XVI.,  XVII.,  and 
XVIII.  Centuries.  A  series  of  50  Plates  of  Drawings  to  scale 
and  Sketches,  chiefly  of  domestic  work,  illustrating  a  fine  series 
of  examples  of  Chimney  Pieces,  Panelling,  Sides  of  Rooms, 
Staircases,  Doors,  Screens,  &c.,  &c.,  with  full  practical  details 
and  descriptive  text.  By  Henry  T.anner,  A. R.I. B. A.,  Joint 
Author  of  "  Some  Architectural  Works  of  Inigo  Jones." 

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THE  DECORATION  OF  HOUSES.  A  Study  of  House 
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the  decorative  treatment,  furnishing,  and  arrangement  of  modern 
houses.  By  Edith  Wh.\rton  and  Ogden  Codman,  Architect. 
With  56  full-page  Photographic  Illustrations. 

"  The  book  is  one  which  should  be  in  the  librarj-  of  ever^'  man  and  woman  of  means,  for  its 
advice  is  characterised  by  so  much  common  sense  as  well  as  by  the  best  of  taste." — Tlie  Queen. 

Large  folio,  handsomely  bound  in  old  style.  jCi  zos.  net. 
THE  DECORATIVE  WORK  OF  ROBERT  AND  JAMES 
ADAM.  Being  a  Reproduction  of  all  the  Plates  illustrating 
Decoration  and  Furniture  from  their  "Works  in  Architec- 
ture," published  1778 — 1812.  Containing  30  large  folio  Plates 
(size,  19  inches  by  14  inches)  gi^^ng  about  100  examples  of 
Rooms,  Ceilings,  Chimney-pieces,  Tables,  Chairs,  Vases,  Lamps, 
Mirrors,  Pier-glasses,  Clocks,  Szc,  &c.,  by  these  famous 
Eighteenth-century  Designers. 

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PRACTICAL  DRAPERY  CUTTING.  A  Handbook  on  Cutting 
and  Fixing  Curtains,  Draperies,  &c.,  with  descriptions  and 
practical  notes,  for  the  use  of  Upholsterers,  Cutters,  and 
Apprentices.  By  E.  Noetzli,  formerly  Lecturer  and  Instructor 
on  Upholstery  at  the  ^Municipal  School  of  Technolog)', 
Manchester.     Illustrated  by  30  full-page  Plates. 


Medium  %vo,  doth,  gilt.     \'^s.  net. 

OLD  CLOCKS  AND  WATCHES  AND  THEIR  MAKERS. 
Being  an  Historical  and  Descriptive  Account  of  the  different 
Styles  of  Clocks  and  Watches  of  the  Past  in  England  and 
Abroad,  to  which  is  added  a  List  of  1 0,000  Makers.  By  F.  J 
Britten.  Second  Edition,  much  enlarged,  containing  740  pages, 
with  700  illustrations,  mostly  reproduced  from  photographs. 

"  It  is  a  book  which  may  be  augmented  in  the  future,  but  will  scarcely  be  replaced,  and 
which  holds,  in  its  way,  a  unique  position  in  literature.  .  .  .  To  the  collector  and  amateur 
it  is  indispensable.'' — Notes  and  Queries. 

Small  folio,  cloth,  gilt,  old  style.  £2  i  os.  net. 
HEPPLEWHITE'S  CABINET-MAKER  AND  UPHOL- 
STERER'S GUIDE;  or.  Repository  of  Designs  for  every  article 
of  Household  Furniture  in  the  newest  and  most  approved  taste. 
A  complete  facsimile  reproduction  of  this  rare  work  (published 
in  1794),  containing  nearly  300  charming  Designs  on  128  Plates. 

Original  copies  when  met  with  fetch  from  ^Qi"]  to  £,i?>. 

"  Hepplewhite's  designs  are  characterised  by  admirable  taste  and  perfect  workmanship.  .  .  . 
They  are  kept  clear  of  the  pitfalls  which  proved  so  fatal  to  the  reputation  of  Chippendale,  and  not 
a  few  of  them  attain  to  a  standard  of  refinement  beyond  which  it  seems  hardly  possible  to  go." — 
The  Cabinet  Maker. 

Imperial  Zvo,  cloth,  gilt.  1 55.  net. 
ENGLISH  FURNITURE  DESIGNERS  OF  THE  XVIIIth 
CENTURY.  By  Constance  Simon.  Containing  upwards  of 
200  pages,  with  62  full-page  Illustrations  of  choice  and  little- 
known  Specimens,  beautifully  reproduced  in  half-tone  from 
special  photographs. 

"  This  is  a  book  of  unusual  excellence,  for  which  students  of  Miss  Simon's  fascinating  but 
obscure  subject  will  have  very  good  cause  to  be  grateful.  So  little  is  known  of  the  lives  and 
personalities  of  the  great  cabinet-makers  of  the  Georgian  period  that  ihe  additions  to  our  know- 
ledge which  her  industry  and  research  have  enabled  her  to  make  are  not  only  of  substantial  value 
in  themselves,  but  will  entitle  her  book  to  a  distinguished  place  in  furniture  literature.  The 
illustrations  add  most  appreciably  to  the  value  of  this  well-informed,  original,  and  authoritative 
piece  of  work,  in  which  nothing  is  slurred  over,  and  nothing  taken  for  gi  anted." — The  Standard. 

Demy  4to,  art  litien,  gilt.  £,\  '^s.  net. 
COLONIAL  FURNITURE  IN  AMERICA.  By  Luke  Vincent 
LocKwooD.  An  Historical  and  Descriptive  Handbook  of 
the  Old  English  and  Dutch  Furniture,  chiefly  of  the  17  th 
and  1 8th  Centuries,  introduced  into  America  by  the  Colonists. 
With  300  Illustrations  of  Chests,  Couches,  Sofas,  Tables,  Chairs, 
Settees,  Cupboards,  Sideboards,  Mirrors,  Chests  of  Drawers, 
Bedsteads,  Desks,  &c. 

To  collectors,  amateurs,  and  furnittire  designers  ihis  volume  cannot  but 
be  of  the  greatest  interest  and  value,  for  while  much  of  the  furniture 
illustrated  is  of  English  origin,  all  the  examples  are  in  keeping  with  the 
best  traditions  of  design  and  workmanship  characteristic  of  English  work  of 
the  17th  and  iSth  centuries. 

B.    T.    BATSFORD, 

PUBLISHER, 
94,  High  Holborn,  London. 


Folio,  enclosed  in  portfolio.     1 55.  net. 

EXAMPLES  OF  FURNITURE  AND  DECORATION 
DESIGNED  BY  THOI\IAS  SHERATON.  Containing  a 
selection  of  167  specimens,  reproduced  on  16  Plates  (18  ins.  by 
12  ins.),  from  his  rare  "  Cabinet  Maker  and  Upholsterer's 
Drawing  Book,"  published  1791 — 1S02. 

Folio,  doth,  gilt.     ^£2  2s.  net. 

OLD  OAK  ENGLISH  FURNITURE.  A  Series  of  Measured 
Drawings,  with  some  examples  of  Architectural  Woodwork, 
Plasterwork,  Metalwork,  Glazing,  &:c.  By  J.  W.  Hurrell, 
Architect.     Containing  1 10  full-page  Plates. 

For  ingenuity  and  quaintness  of  design,  richness  of  moulding,  and 
profusion  of  ornament,  the  old  oak  furnilure  of  England  is  probably 
unsurpassed  by  the  contemporaneous  work  of  any  other  counlr)".  Mr.  Hurrell's 
plates  illustrate  the  true  spirit  of  the  work  by  means  of  an  exhaustive 
detailed  analysis  of  its  construction  and  design. 

Imperial  4  to,  in  cloth  portfolio,  gilt.     ;£i   &s. 

DETAILS  OF  GOTHIC  WOOD-CARVING.  Being  a  series 
of  Drawings  from  original  work  of  the  XIYth  and  XVth 
Centuries.  By  Franklvx  A.  Crallan.  Containing  34  Photo- 
lithographic Plates,  two  of  which  are  double,  illustrating  some 
of  the  finest  specimens  of  Gothic  ^Vood  Carving  extant.  With 
sections  where  necessary,  and  descriptive  text. 

FRENCH  WOOD  -  CARVINGS  FROM  THE  NATIONAL 
MUSEUMS.  A  series  of  E.xamples  printed  in  Collotype  from 
Photographs  specially  taken  from  the  Carvings  direct.  Edited 
by  Eleanor  Rowe.  Part  I.,  Late  15th  and  Early  i6th  Century 
Examples;  Part  II.,  1 6th  Century  Work;  Part  III.,  17th  and 
iSth  Centuries.  The  3  Series  complete,  each  containing  iS  large 
folio  Plates,  with  Descriptive  Letterpress,  folio,  in  portfolios, 
price  125.  each  net ;  or  handsomely  half-bound  in  one  volume, 
£2  5s.  net. 

*'  This  invaluable  collection  .  .  .  should  he  possessed  hy  evcr^'  catfer,  both  pro/essioital 
atid  amateur.  ,  .  .  The  plates  are  on  so  targe  a  scale,  and  are  so  clearly  produced,  that  they 
become  equivalent,  for  the  purposes  of  study,  to  the  original  works." — Tlu  Architect. 

Demy  8vo,  cloth,  ^It.  75.  6d.  net. 
PRACTICAL  WOOD-CARVING.  A  Book  for  the  Student, 
Carver,  Teacher,  Designer,  and  Architect.  By  Eleanor  Rowe, 
twenty  years  Manager  of  the  School  of  Art  M'ood-Carving  Ken- 
sington, author  of  "Hints  on  Chip-Car\'ing,"  "French  Wood- 
Carvings,"  &c.  Containing  200  pages  of  Letterpress,  with 
169  Illustrations  from  Photographs  and  Drawings,  showing  the 
Carver  at  work.  Carving  in  progressive  stages  of  execution,  and 
examples  of  Old  and  Modern  Carvings. 

"  Out  of  tile  rich  stores  of  many  years'  knowledge  and  e.vperience  of  her  subject,  Miss  Rowe 
has  given  to  all  lovers  of  this  beautiful  handicraft  a  manual  of  the  greatest  value.  Aliss  Rowe's 
long  e.vperience  of  teaching  has  given  her  the  fullest  acquaintance  with  the  needs  and  difficulties 
of  the  carver,  and  thus  her  training  is  based  upon  a  practical  sympathy  which  makes  it 
peculiarly  helpful." — The  Queen. 


^3 

Imperial  4/0,  enclosed  in  strotig portfolio.  Zs.  6d.  net. 
OLD  ENGLISH  WOOD-CARVING  PATTERNS.  A  Collec- 
tion of  Facsimile  Rubbings  from  Oak  Furniture  of  the  Jacobean 
Period.  Specially  prepared  for  the  use  of  Teachers,  Students, 
and  Classes.  By  Margaret  F.  Malim.  Comprising  30 
Examples  on  20  Plates  (15  ins.  x  11  ins.),  reproduced  by  photo- 
tint  process. 

These  full-size  reproductions  of  the  delightful  patterns  found  on  Old 
English  furniture  will  be  invaluable  to  wood-carvers  of  all  classes  ;  for  not 
only  are  they  exceptionally  good  from  the  standpoint  of  design,  but  so  easy 
of  execution,  that  amateurs  who  have  attained  to  but  moderate  skill  in  the 
craft  can  successfully  reproduce  them  without  difficulty. 

Imperial  8vo,  enclosed  in  strong  portfolio,     (^s.  net. 

WOOD-CARVING  DESIGNS.  A  Series  for  Students,  Teachers, 
Designers,  and  Amateurs.  By  Muriel  Moller.  With  Fore- 
word by  Walter  Crane.  Six  imperial  sheets  (31  ins.  x  22  ins.), 
comprising  31  Working  Drawings  of  Panels,  Frames,  &c.,  with 
Photographic  Reproductions  of  the  finished  work,  and  20  designs 
for  Furniture,  in  which  the  panels,  «SiC.,  may  be  applied. 
Crown  Svo,  paper  covers.     \s.  net. 

HINTS  ON  WOOD  -  CARVING  FOR  BEGINNERS.  By 
Eleanor  Rowe.  Containing  notes  on  the  tools,  selection  of 
the  wood,  and  methods  of  carving,  &c.  Fourth  Edition,  revised 
and  enlarged,  with  23  full-page  and  smaller  Illustrations. 

"  The  most  useful  and  practical  small  book  on  wood-carving  we  know  of." — The  Builder. 
"  Full  of  sound  directions  and  good  suggestions." — The  Magazine  of  Art. 

Crown  8vo,  paper  covers,     is.  net. 
CHIP-CARVING   AND    OTHER    SURFACE-CARVING.      A 
Manual  of  Practical  Instruction.     By  Eleanor  Rowe.     With 
71  Illustrations  in  line  and  half-tone. 

This  is  a  new  book  which  replaces   the  Author's  popular  "  Hints  on 
Chip-Carving."     It  includes  self  instruction,  and  touches  on  many  develop- 
ments of  the  craft,  such  as  Strapwork,  Norwegian  and  Maori  carving. 
Imperial  folio,  buckram,  gilt.     ^^  3^-  ^^l- 
ENGLISH   AND    SCOTTISH  WROUGHT    IRONWORK.      A 
Series  of  Examples  of  English  Ironwork  of  the  best  period,  with 
which  is  included  most  that  now  exists  in  Scotland.     By  Bailey 
Scott   Murphy,  Architect:      Containing  80  fine  Plates  (size 
21-i-  ins.  by  14-2-  ins.),  68  reproduced  from  measured  drawings,  and 
1 2  from  photographs  specially  taken.     With  Descriptive  Text. 

"  Tliis  volume  stands  alone  as  a  unique  collection  of  the  best  work  in  wrought  iron  done 
in  Great  Britain.  It  is  replete  with  exact  delineations  and  precise  dimensions  technically  and 
thoroughly  realised  for  the  student  and  practical  craftsman." — The  Building  Neivs. 

De7ny  Svo,  cloth.     6j. 
A    HANDBOOK    OF    ART    SMITHING.      By   F.    S.    Meyer, 
Author  of  "A  Handbook  of  Ornament."    With  an  Introduction 
by  J.  Starkie  Gardner.     Containing  214  Illustrations. 

"  A  most  excellent  manual,  crowded  with  examples  of  ancient  work.  The  Introduction  is 
by  Mr.  Starkie  Gardner,  and  students  know  what  that  name  implies." — The  Studio. 

B.    T.    BATSFORD, 

PUBLISHER, 
94,  High  Holborn,  London. 


14 

Large  Imperial  Svo,  cloth,  ys.  6d.  net.  ■ 
ARCHITECTURAL  SKETCHING  AND  DRAWING  IN  PER- 
SPECTIVE. A  Progressive  Series  of  36  Plates,  illustrating 
the  Drawing  of  Architectural  Details,  and  Sketching  to  Scale ; 
with  Chapters  on  Various  Perspective  Methods,  Figures,  Foliage, 
&c.  Based  to  some  extent  on  R.'s  Method  of  Perspective. 
By  H.  W.  Roberts,  Author  of  "  R.'s  Method." 

De?ny  8w,  cloth.  2s.  6d.  net. 
THE  PRINCIPLES  OF  ARCHITECTURAL  PERSPECTIVE. 
Prepared  for  the  Use  of  Students,  &c.,  with  chapters  on  Iso- 
metric Drawing  and  the  Preparation  of  Finished  Perspectives. 
By  G.  A.  T.  jNIiddletgn,  A.R.I.B.A.  Illustrated  with  51 
Diagrams  and  8  finished  Drawings  by  various  Architects. 

Croiun  8vo,  art  linen.  55.  6d.  net. 
PEN  DRAWING.  An  Illustrated  Treatise.  By  Charles  D. 
M.\GiNNis,  Instructor  in  Pen  Drawing,  Boston  Architectural 
Club.  With  a  special  chapter  on  Architectural  Drawing.  Illus- 
trated by  72  Reproductions  of  the  Work  of  the  principal 
Black-and-White  Artists,  Practical  Diagrams,  &c. 

Large  Svo,  art  linen.     75.  dd.  net. 
THE   APPRECIATION    OF    PICTURES.     An  Historical  and 
Critical  Handbook  of  Ancient  and  Modern  Art  for  the  Artist, 
Student,  and  Connoisseur.     By  Russell  Sturgis,  M.A.     With 
73  full-page  Photographs  after  Famous  Pictures. 

"  I'his  book  is  so  well  founded  in  the  study  of  llie  masters,  old  and  new  ;  so  faithful  to  the 
true  idea  of  the  graphic  arts,  and  so  well  written,  that  it  could  be  read  with  interest  and  sympathy 
by  anybody  who  loves  paint." — The  Scotsman. 

Large  Svo,  art  linen.  75.  (id.  ftet. 
PICTORIAL  COMPOSITION  AND  THE  CRITICAL 
JUDGMENT  OF  PICTURES.  A  Handbook  for  Students 
and  lovers  of  Art.  By  H.  R.  Poore.  With  about  150  Illus- 
trations, chiefly  reproduced  from  photographs,  of  celebrated 
pictures,  including  numerous  elucidatory  diagrams. 

One  of  the  best  works  of  its  kind.  Of  particular  value  to  the  artist,  to 
the  art  student,  and  to  all  interested  in  understanding  the  merits  of  a  picture. 
The  book  is,  in  fact,  a  liberal  education  in  art. 

Lar£;e  Svo,  cloth,  s,ilt.  \2S.  6d.  net. 
ART  PRINCIPLES  IN  PORTRAIT  PHOTOGRAPHY:  Com- 
position ;  Treatment  of  Backgrounds,  and  the  Processes  involved 
in  Manipulating  the  Plate.  By  Otto  M'alter  Beck.  With 
138  full-page  and  smaller  illustrations,  reproduced  from  specially 
taken  photographs  and  original  diagrams. 

"  The  book  deals  verj-  ably  with  the  limilalions  and  with  the  possibilities  of  the  camera  in 
portraiture.  Too  often  the  photographer  has  neither  received  any  serious  artistic  training  nor 
had  the  opportunity  for  intelligent  study.  While  I  do  not  think  there  is  any  short  cut  to  success 
in  Pictorial  Portraiture,  the  book  cannot  fail  to  be  most  helpful  and  conducive  to  good  if  followed 
out." — Mr.  Furley  Lewis,  F.R.P.S. 


15 

3  vols.,  large  folio,  strongly  bound  in  buckram,  gilt.  £.1$  ^S^-  '^^^• 
AIODERN  OPERA-HOUSES  AND  THEATRES.  Examples 
of  Playhouses  recently  erected  in  Europe.  With  Descriptive 
Accounts,-  a  Treatise  on  Theatre  Planning  and  Construction, 
and  Supplements  on  Stage  Machinery,  Theatre  Fires,  &c.  By 
Edwin  O.  Sachs,  Architect.  Complete  in  Three  Grand  Folio 
Volume'',  containing  over  200  large  Folio  Plates,  and  some  600 
Diagrams,  interspersed  in  the  350  pages  of  Text. 

"  Mr.  Sachs  has  given  us  a  work  which  most  usefully  and  adequately  fills  a  gap  in  architec- 
tural literature." — The  British  Architect. 

"The  undertaking  surpasses  anything  of  the  kind   ever  attempted  in  this  country." 

„  J         7  j7        vj  X  The  Building  News. 

Crown  4to,  cloth,  gilt.     '^s.  net. 
THE  ST.  LOUIS  EXHIBITION,   1904.     An  Illustrated  Account 
of  the  Exhibition  and  its  Buildings.    By  H.  Phillips  Fletcher, 
F.R.I. B. A.     With  43  full-page  and  smaller  Illustrations. 
Square  Si'o,  cloth,  gilt.     6s.  7iet. 
FARM     BUILDINGS  :      THEIR      CONSTRUCTION      AND 
ARRANGEMENT.      By  A.  Dudley   Clarke,    F.S.I.      3rd 
Edition,  revised  and    much  enlarged.    With  chapters    on  Cot- 
tages,   Homesteads,  Roofs,   Sanitary  Matters,  &c.      Containing 
52  Plates,  and  many  other  Illustrations. 

Adopted  as  the  text-book  by  the  Surveyors'  Institution. 
"  Mr.  Clarke's  handbook  is  the  best  of  its  kind." — The  Surveyor. 

Large  Svo,  cloth,  gilt.  8j.  ()d.  net. 
THE  PRINCIPLES  OF  PLANNING.  By  Percy  L.  Marks, 
Architect.  With  Notes  on  the  Essential  Features  and  Require- 
ments of  Different  Classes  of  Buildings.  Illustrated  by  150 
Plans,  mainly  of  important  modern  Buildings.  Second  Edition, 
revised  and  greatly  enlarged. 

"  It  will  be  found  a  suggestive  and  useful  book  on  the  subject." — The  British  Architect. 

Large  2,vo,  art  linen,  ^ilt.     1 55-.  ?tet. 
ENGLISH    SHOP    FRONTS,    OLD  AND    NEW.     A  Series  of 
.Examples  by  leading  Architects.     Selected  and  specially  pho- 
tographed, together  with  Descriptive  Notes  and   Illustrations. 
By  HoR-\CE   Dan,    M.S. A.    and    E.    C.    Morgan  Willmott, 
A.R.I.B.A.     Containing  52  full-page  collotype  plates   and  25 
smaller  illustrations  interspersed  in  the  text. 
Su.MMAKY. — The    Old    Shop    Front — The   Architecture   of    the    Modern 
Shop  Front — Tlie    Practical    Requirements  of    the   Modern    Shop   Front  : 
Materials,   Construction,  Glazing,  Stall  Boards  and  Pavement  Lights,   Let- 
tering, Sun-blinds  and  Roller  Shutters,  Lighting,  Entrances,  &c. ,  &c. 
Lmperial  Zvo,  cloth,  gilt.     1 2s.  6d.  >.  et. 
PUBLIC    LIBRARIES  :  A  Treatise  on  their  Design,  Construction, 
and  Fittings,  with  a  Chapter  on  the  Principles  of  Planning,  and 
a  Summary  of  the   Law.     By   Amian   L.   Champneys,  B.A., 
Architect.     Containing  about  200  pages,  with  over  100  Illustra- 
tions of  Modern  Examples  and  Fittings  from  Photographs  and 
Drawings. 

B.    T.    BATSFORD, 

PUBLISHER, 

94,  High  Holborn,  London. 


i6 

Imperial  8to,  cloth,  gilt.  £i  55.  net. 
MODERN  SCHOOL  BUILDINGS,  Elementary  and  Secondary. 
A  Treatise  on  the  Planning,  Arrangement,  and  Fitting  of  Day 
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17 

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i8 

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19 

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and  remodelled  edition  of  the  chapters  on  these  subjects  from 
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B.    T.    BATSFORD, 

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"The  best  trealise  existing  on  Practicil  Plumbing." — T/te  Builder. 

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23 

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B.    T.    BATSFORD, 

PUBLISHER, 

94,  High  Holborn,  London. 


24 

PROFESSOR  BANISTER  FLETCHER'S  VALUABLE  TEXT- 
BOOKS FOR  ARCHITECTS  AND  SURVEYORS. 

Arranged  in  Tabulated  Form  and  fully  indexed  for  ready  reference. 

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By   BANISTER   F.    FLETCHER,    F.R.I.B.A.,  F.S.I.,  and 
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Croivn  8vo,  uniformly  bound  in  c/oth,  gill.  6s.  6d.  each. 
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the  full  text  of  the  Amendment  Acts  of  1905  and  1908,  and 
the  latest  Requirements  and  Regulations  of  the  London  County 
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".\n  excellent  compendium  on  the  law  and  practice  on  the  subject." — The  Builder. 

LIGHT  AN  13  AIR.  With  Methods  of  Estimating  Injuries,  Reports 
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VALUATIONS  AND  COMPENSATIONS.  A  Text-book  on 
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With  an  Appendix  of  Forms  of  Precedents  and  an  extensive 
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an  exhaustive  index." — Tlu  Profierty  Market  Review. 

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connected  with  Arbitrations,  more  especially  Architects,  En- 
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governing  the  same,  and  an  Appendix  of  Forms,  Statutes. 
Rules,  &c.     Third  Edition,  revised  and  largely  re-written. 

"  Especially  useful  to  young  surveyors  as  a  compendium  of  the  knowledge  which  professional 
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B.  T.   BATSFORD,   PubHsher,  94,  High  Holborn,   LONDON. 


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